Introduction: Current recommendations by National Institute of Clinical Excellence (Technology Appraisal 51) emphasise the need for future research to examine the effectiveness of CCBT across the age span. Kaltenthaler et al. (2008) recommended future research focuses on acceptability of CCBT through using ‘survey and intensive qualitative methods, include the process of initial engagement, continuation versus drop-out, and in those completing, satisfaction or regret undertaking CCBT’ (p.1528). The pilot study by McMurchie (2011) was the first to explore the acceptability and effectiveness of the CCBT package Beating the Blues (BTB) solely with older people. Using qualitative methodology, the aim of the current study was to explore the experiences of older people who, when participating in the pilot study chose to use BTB compared to those who chose to remain with their treatment as usual (TAU). The current study aimed to gain a deeper understanding of the acceptability of BTB as well as factors that influence decisionmaking in terms of uptake to BTB and discontinuation from BTB. Method: Individual semi-structured interviews were carried out with 20 older people who took part in the pilot study (McMurchie, 2011). Participants were in one of three groups, these were: BTB-completers, BTB-discontinuers and TAU. Transcripts were analysed using Interpretative Phenomenological Analysis (IPA) (Smith et al., 2009). Findings: Five master themes emerged from the interviews: Beating the Blues as a Process of Change; Relevance of Beating the Blues to Older People; Challenges of Using Beating the Blues; Motivation to Try Something New and Barriers to Beating the Blues at Time of Uptake. Conclusions: Overall, the master themes reflected the experiences of either “regaining control” or a sense of “hopelessness” when opting whether or not to use BTB in the first instance and to then continue with the treatment. Experiences of using BTB appeared to be linked to the outlook participants had about using a novel treatment with either a sense of hope or impending failure. Participants who chose BTB had a more positive outlook which impacted their ability to manage perceived challenges and work towards recovery. The sense of impending failure seemed to be linked to participants perceiving more barriers to using BTB and struggling to overcome these challenges, resulting in them either declining BTB or feeling they were not benefiting from BTB and therefore discontinuing it.

Submitted by Eric Hora Fontes Pereira (ericassmar@gmail.com) on 2016-01-27T04:08:26Z No. of bitstreams: 1 HORA, Eric - Falas e sonoridades do blues em Salvador (DISSERTAÇÃO).pdf: 1461531 bytes, checksum: 5c695320aab9b26e37249150afbb0cdb (MD5) / Made available in DSpace on 2016-01-27T04:08:26Z (GMT). No. of bitstreams: 1 HORA, Eric - Falas e sonoridades do blues em Salvador (DISSERTAÇÃO).pdf: 1461531 bytes, checksum: 5c695320aab9b26e37249150afbb0cdb (MD5) / CNPq / Esta dissertação traz um estudo sobre a prática e a construção dos discursos e sonoridades da cena do blues na cidade de Salvador. Desenvolvo análises sobre questões e conceitos dentro do referido campo, a partir de relatos obtidos em entrevistas com 13 participantes deste cenário. Reconhecendo minha perspectiva de músico participante, adoto uma postura dialógica com as pessoas deste universo, alinho-me a referenciais epistemológicos oriundos de áreas como a etnomusicologia, a antropologia, estudos culturais e pós-coloniais e utilizo conceitos como cena musical, marcadores sociais de diferença e história oral como bases para a construção da presente abordagem. Ativo em Salvador há mais de duas décadas, o blues soteropolitano conta, em sua maior parcela, com protagonistas brancos de classe média que tiveram contato com esta identidade musical tendo como referência o rock de artistas estadunidenses e ingleses. Busco pensar sobre questões de representação nesta cena e sobre como se dá a reelaboração desta identidade musical cujo surgimento se deu em contexto diaspórico, com negros escravizados no sul dos Estados Unidos, no século XIX. Discuto conceitos e sonoridades, caracterizações dos perfis dos participantes, sua inserção diante da indústria cultural da cidade e o cotidiano das práticas sociais de seus protagonistas. / This dissertation presents a study about the practice and the speeches and sounds construction of the blues scene in the city of Salvador. I develop analysis about issues and concepts inside that field from the reports obtained from interviews with 13 participants in this scene. Recognizing my participating musician perspective, I adopt a dialogical approach with people of this universe, align myself to epistemological frameworks coming from areas such as ethnomusicology, anthropology, cultural and postcolonial studies, and use concepts like music scene, social markers of difference and oral history as basis for the construction of this approach. Active in Salvador for more than two decades, Salvador’s blues scene has, in greater part, white middle-class protagonists, who had contact with this musical identity from reference of the American and British rock artists. I intent to think about representation issues in this scene and how the reworking of this musical identity, whose emergence happened in diasporic context, with black enslaved people in the southern United States during the nineteenth century, works. I discuss concepts and sounds, characterizations of the participants profiles, its inclusion on the cultural industry of the city and the day-by-day social practices of its protagonists.

Made available in DSpace on 2016-08-29T14:11:01Z (GMT). No. of bitstreams: 1 tese_7657_Tese Maria Rocío.pdf: 12715149 bytes, checksum: 2d3856ee4faa20a0d1db1d244d645f3b (MD5) Previous issue date: 2014-05-27 / La presente Tesis parte de un acercamiento poliédrico al blues y al jazz como temas literarios, como ritmos transgresores, como espacios de reivindicación y como estandartes de la música que surgió del contacto cultural en la diáspora. Se explora La influencia de estos géneros musicales en tres obras literarias de cada una las siguientes autoras: Toni Morrison, Alice Walker y Gayl Jones. Estos textos literarios, publicados principalmente entre los años setenta y principios de los ochenta del siglo XX, son uma buena muestra de la influencia del legado de las cantantes de blues, de los ritmos sincopados del jazz y de la cultura vernácula de las personas afro-estadounidenses. Las escritoras rompen con la tradición literaria de vincular el blues y el jazz a autores masculinos y protagonizan el renacer literario femenino negro de los años setenta. Esta investigación aúna la crítica feminista negra, los estudios literarios y lãs historias de la música negra, para determinar el papel del blues y el jazz como testimonios de la resistencia ante la desigualdad de raza, clase y género, esta última visibilizada por las cantantes de blues primero y por las autoras objeto de estúdio después. Asimismo, se hace especial énfasis en el trasfondo social de la música que sonaba en el momento histórico en el que las autoras sitúan la trama de los textos.

Focusing on interactions between Britain and the US in the field of popular song, this thesis explores the constitutive relationship between discourse, performance, and identity via critical and postcolonial theory. I interrogate how and why nostalgic and essentialising visions of alterity were used to resist mass consumption, global capitalism, and the changes wrought by modernity during the twentieth century. I argue that folk music does not exist outside the discourse of revivalism and is therefore best seen as an institutionalised system of knowledge animating the 'low Other'. Chapter 1, '"Dancing Puppets": Nationalism, Social Darwinism, and the Transatlantic Invention of Folksong', uncovers moments of mediation between 'primitive' cultures and metropolitan elites during the early twentieth century. Employing the idea of gatekeeping, I critique a genealogy of powerful voices including Cecil J. Sharp and John A. Lomax alongside others who persistently challenged their orthodoxies. Chapter 2, '"His Rough, Stubborn Muse": Industrial Balladry, Class, and the Politics of Realism', investigates Marxist visions of working-class culture, showing how ideas of rural authenticity were translated onto urban contexts. Focusing on the BBC 'radio ballads', I argue that industrial folksong was a form of social realism intended as a gendered bulwark against threats posed by Americanisation and postwar affluence. Chapter 3, '"Found True and Unspoiled": Blues, Performance, and the Mythology of Racial Display', explores African American culture, showing how desires written into a revivalist gaze forced artists to assume what I term 'black masks' for the benefit of white male fantasy. Focusing on televised performances, I argue that the semiotics of blues events provide a way of understanding the workings of racial identity itself. I conclude by proposing that what I term the 'folkloric imagination' is a simulacrum brought into existence by ideological fantasy - a manifestation of the colonialist Real.

No description available.

Made available in DSpace on 2016-07-27T14:21:36Z (GMT). No. of bitstreams: 1 DANIELA TAVARES FERREIRA DE ASSIS.pdf: 622680 bytes, checksum: afd67a2c62fe99c00e14a33d506da900 (MD5) Previous issue date: 2008-04-04 / This present paper presents data of research that studied the experiences of a blues band, famous in the recording market in the mid-west of Brazil. The psychodynamic approach to the work in a blues band was the theme of the present to research. This study aimed to investigate the organization and working conditions, the experiences of pleasure and suffering, the strategies of confrontation, the professional identity and the significance of the work. It is a case study of descriptive and exploratory character, whose research instruments were the semi-structured interviews and observation of rehearsals and shows. The data collected were analyzed by means of the graphic analysis of the discourse of Lane (1995). This analyses of the data indicate the precarious working conditions to wich the musicians are submitted. Categories related to their perceptions of the conditions, work relations and work organization, experiences of pleasure and suffering in work and the strategies of confrontation, emerged as results. The meaning of the work of creation linked to art and the work as a constructor of identity were approached as indicators of pleasure and suffering. In relation to organization and working conditions, it was observed that the division and performance of tasks are carried out informally and in conditions that affect musicians health. Concerning the work relations of the band the data shows the interaction among them seems to be harmonious. Among the factors that create experiences of pleasure, personal development and better financial returns stand out. Those that create experiences of suffering are the social prejudice that they face because they are performers and work at night, the double shift and the fact of living in Goiás, a region with a musical preference predominately country for the majority of the population. The participants said that they use strategies of confrontation with aggressive attitudes, such as the practice of reading. With respect to professional identity, they attribute to creative freedom the meaning of the work. The results obtained this investigation suggest that the working conditions of the musicans are precarious and informal and the double shift of work exposes the worker to several types of health risks: moreover, they are victims of prejudice, humiliation, negative stigmas and excluded from some soceial circles. In contrast to theses characteristics of pleasure and suffering, the work of the band takes shape as a possibility for a search for identity, autonomy, recognition and additional income, become mere survival. / O presente trabalho apresenta dados de uma pesquisa que abordou as vivências de prazer e de sofrimento de cinco componentes de uma banda de blues com renome no mercado fonográfico da região Centro-Oeste do Brasil. A abordagem psicodinâmica do trabalho em uma banda de blues foi o tema da presente pesquisa, o qual objetivou investigar a organização e condições de trabalho, as vivências de prazer e sofrimento, as estratégias de enfrentamento, a identidade profissional e os sentidos do trabalho. Trata-se de um estudo de caso de caráter descritivo e exploratório, cujos instrumentos de pesquisa foram entrevistas semi-estruturadas e observação de ensaios e shows da banda. O delineamento deste estudo privilegiou os preceitos dejourianos como perspectiva da psicodinâmica do trabalho. Os dados coletados foram analisados por meio da análise gráfica do discurso de Lane (1985). As análises dos dados indicam condições precárias de trabalho às quais os músicos estão submetidos. Como resultados, emergiram categorias relacionadas à sua percepção relativas às condições, relações de trabalho e organização do trabalho, vivências de prazer e sofrimento no trabalho e as estratégias de enfrentamento. Como indicadores de prazer e sofrimento, foram abordados o sentido do trabalho de criação vinculado à arte e o trabalho como construtor de identidade. Em relação à organização e às condições de trabalho, observa-se que a divisão e execução de tarefas são realizadas informalmente e em condições que afetam a saúde dos músicos. No que se refere às relações de trabalho na banda, os dados indicam que a convivência entre eles parece ser harmoniosa. Dentre os fatores que geram vivências de prazer, destaca-se o desenvolvimento pessoal e melhor retorno financeiro; e dos que geram vivências de sofrimento, o preconceito social que enfrentam por serem artistas e trabalharem à noite, além a dupla jornada de trabalho e o fato de morar em Goiás, região com preferência musical predominantemente sertaneja para a maioria da população. Os participantes relataram que utilizam estratégias de enfrentamento como atitudes agressivas, gritos, e outras, como a prática da leitura. No tocante à identidade profissional, como criação, eles atribuem a liberdade criativa como sentido do trabalho. Os resultados obtidos nesta investigação sugerem que as condições de trabalho dos músicos são precárias e informais, e a dupla jornada de trabalho expõe o trabalhador a vários tipos de risco à saúde. São ainda vítimas de preconceitos, humilhação, estigmas negativos e excluídos de alguns ambientes sociais. Contrapondo-se a essas características de prazer e de sofrimento, o trabalho a banda pode-se configurar em uma possibilidade para a busca de identidade, autonomia, reconhecimento e de renda financeira adicional, além da mera sobrevivência.

This ethnographic analysis examines the life stories and lyrics of four African blues singers. Specifically, it compares the cultural themes that emerge their life stories to the cultural themes at emerge from their commercially released music. The findings suggest that the singers recognize, to varying degrees, the impact of racism, sexism, and classism on their personal and careers. These same themes, however, are not present in the lyrics of the music that they choose to sing. Both the stories and the lyrics reveal internal inconsistencies that mirror one another. The conclusion suggests that the inconsistencies within their stories and music are consistent with their liminal position with regard to dominant and subordinate cultures.

Thesis (Ph. D.)--University of Chicago, Department of Sociology, June 2000. / Includes bibliographical references. Also available on the Internet.

Th. 3e cycle--Etud. nord-am.--Paris 3, 1987.

I denna studie utförs en närmare analys av Maurice Ravels violinsonat no 2 med fokus på andra satsen, Blues. Det som undersöks är sammanförandet av olika genrer och huruvida Ravels Blues är en autentisk blues, samt hur jag som interpret tolkar verket. I processen av min egen tolkning av verket har jag valt att även analysera Janine Jansens och Sarah Changs interpretationer av andra satsen, för att kunna positionera min tolkning gentemot dem.