No description available.

Thesis -- Ohio State University. / Bibliography: p. [353]-365. Also available online.

Thesis (Ph. D.)--UCLA, 2008. / Vita. Includes bibliographical references (leaves 269-279).

Thesis (M.A.)--University of Montana--Missoula, 2007. / Title from PDF title page (viewed on Aug. 12, 2007). Includes bibliographical references (p. 72-74).

Sitting at a rarely examined intersection between aging, disability, and popular culture, this project explores how the aging body becomes the disabled body in the context of popular music. In what follows, I trouble the distinction between bodies and mediation, between lived-experience and cultural product, and I argue that the voice of the aging artist engages with his lived-experience even as he performs socially-constructed conceptions of aging and disability. I read Johnny Cash’s 2002 cover of Trent Reznor’s “Hurt” on American IV: The Man Comes Around as a performance of the singer’s age and disabled condition. Through pain- saturated lyrics, music filled with unresolved tension, a damaged voice, and a video that puts his aged body on display, Cash performs a disability script that presents his age and personal health as disabling burden. I explore how country music, Cash’s performance past, and strategies pursued by his producer, Rick Rubin, all contribute to a performance that is both successful popular song and a manifestation of the singer’s declining condition. The project invites subsequent explorations of the intersection of age and disability in popular music, and highlights several artists whose voices and performances of old age and disability demand attention. The project aligns with an interactive approach to disability research, breaking down the dialectic between social and individual priorities in disability studies and foregrounding how each influence the overall performance.

This thesis examines the complex and multi-dimensional narratives presented in the work of mainstream female country artist Carrie Underwood, and how her blending of musical genres (pop, rock, and country) affects the narratives pertaining to gender and sexuality that are told through her musical texts. I interrogate the relationships between and among the domains of music, lyrics, images, and staging in Underwood’s live performances (Blown Away Tour: Live DVD) and related music videos in order to identify how these gendered narratives relate to genre, and more specifically, where these performances and videos adhere to, expand on, or break from country music tropes and traditions. Adopting an interlocking theoretical approach grounded in genre theory, gender theory, narrative theory in the context of popular music, and happiness theory, I examine how, as a female artist in the country music industry, Underwood uses genre-blending to construct complex gendered narratives in her musical texts. Ultimately, I find that in her Blown Away Tour: Live DVD, Underwood uses diverse narrative strategies, sometimes drawing on country tropes, to engage techniques and stylistic influences of several pop and rock styles, and in doing so explores the gender norms of those genres.

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Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2016-09-09T20:50:55Z No. of bitstreams: 2 Dissertação - Inglas Ferreira Neiva dos Santos - 2016.pdf: 3909115 bytes, checksum: b1cbac00148db8840c8219a3097c67fb (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-09-12T14:23:39Z (GMT) No. of bitstreams: 2 Dissertação - Inglas Ferreira Neiva dos Santos - 2016.pdf: 3909115 bytes, checksum: b1cbac00148db8840c8219a3097c67fb (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-09-12T14:23:39Z (GMT). No. of bitstreams: 2 Dissertação - Inglas Ferreira Neiva dos Santos - 2016.pdf: 3909115 bytes, checksum: b1cbac00148db8840c8219a3097c67fb (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-04-29 / This paper’s purpose is to understand the relations between country music and its time, comprehending it as a possible interpretation of language, and the expression of society in which it interacs with. We utilized as an object of analyses the life and works of Francisco Ricardo de Souza (Marrequinho), a Goiano country musician, observing his productions between the years of 1950 through 2010. Under this perspective, we will investigate which aspect the songs of the composer has a dialog which refers to the rural life and the urban life at a certain point, and if there is an appropriation of the compositor’s work in the ocasion of the modern in Goiânia in its first decades of his compositions. Considering the process of character and nothing estatic of the music, it is observable that the changes in country music combine elements related to tradition and modernity, visualizing for instance, a conflictuous relationship. Such characteristic, does not obviously limit the compositor’s work but the genre in a general form. At the “light” of Marrequinho’s work, we will analize the “construction” of his discussions of distinction between Folk country music and modern country music, maintaining in sight elements of continuities and possible intersections. Under such movement, we will examine in which way the conception of tradition dialogs with modern ideas and with the urban expansion in Brazil after the 1950’s. / O trabalho propõe entender as relações entre a música sertaneja e seu tempo, compreendendo-a como uma possível linguagem de interpretação e expressão da sociedade com a qual interage. Para tal objetivo utilizamos como objeto de análise a vida e obra do compositor goiano de música sertaneja Francisco Ricardo de Souza (Marrequinho), observando sua produção entre os anos de 1950 a 2010. Sob tal perspectiva, busca-se investigar em que aspecto as canções do compositor dialogam com as questões referentes ao campo e à cidade, supondo, em certa medida, que há uma apropriação da obra do autor sob a conjuntura do moderno em Goiânia nas décadas iniciais de suas composições. Considerando o caráter processual e nada estático da música, observa-se que as mudanças na música sertaneja combinam elementos relacionados à tradição e à modernidade, protagonizando por vezes, uma relação conflituosa. Tal característica, não se limita obviamente, à obra do compositor, mas ao gênero de forma geral. À luz da obra de Marrequinho analisaremos a “construção” dos discursos de distinção entre a música caipira e a música sertaneja, tendo em vista elementos de continuidades e de possíveis intersecções. Sob tal movimento, interessa-nos examinar de que maneira a concepção de “tradição” dialoga com as ideias modernas e com a expansão urbana no Brasil a partir dos anos de 1950.