Thesis (M.S.)--University of Michigan, 1996.

Traditional, participatory music is a powerful medium through which people express and shape their ideas about identity, mobility, social relations, and belonging, and through which people are in turn shaped. The everyday cultural practices of playing, sharing, and dancing to traditional music, as well as discussions about the nature of traditional music and production of events involving traditional music, all work to construct the region called Appalachia. Through this dissertation, I seek to answer some simple questions that have complicated answers involving place, identity, power, and social relations, with economic, social, and emotional ramifications: Who gets to be an Appalachian musician? How is this accomplished? Who gets to decide? Using a social constructionist theoretical base and drawing on such literatures as cultural geography, music geography, musicology and ethnomusicology, Appalachian studies, and critical regionalism, I employ ethnographic techniques, including participant observation, semi-structured interviews, and discourse analysis to understand the workings of old time music and the self-understanding of musicians that play and sing traditional music in eastern Kentucky, a core area of Appalachia. This dissertation shows that vernacular roots music in eastern Kentucky is both an inclusive and a contested phenomenon. In describing and analyzing the spaces for music in Appalachia, the old-time community in eastern Kentucky, the dynamics of festival hiring negotiations, and interviews with white and African American musicians, both male and female, I show how Appalachian space is produced simultaneously on many different scales. This construction is a dialectical process, articulating between the power expressed on a micro scale between individuals and the power used by individuals and institutions to define the region through representation. This dissertation demonstrates two main processes: how Appalachian space is negotiated and produced through interactions at jam sessions and other events, and how the musicians perform community in these interstitial moments. Contributions of this dissertation include attention to micro scale interactions and embodiment as a key component of spatial production, participant observation as a research method in music geography, and increased understanding of the performance of race and gender in cultural and spatial production.

Thesis (M.S.)--University of Michigan, 1996.

This thesis conducts a cultural analysis examining the claim of metal music being gendered as masculine. An autophenomenographical approach is taken and carried out through an affective analysis combined with a feminist analysis of sound. By studying the author’s own perception of industrial metal, this research looks at the effect and affect that this genre of music can have on a woman, as well as inquires whether it is necessary to label the genre with binary gender terms such as masculine or feminine. The presented conclusions also encourage the question to be posed in relation to a broader spectrum of music.

Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2016-08-17T19:19:18Z No. of bitstreams: 1 Maria Tereza Mazziero de Souza.pdf: 1647061 bytes, checksum: 7fc3280429c88ffd076a539041b24f47 (MD5) / Made available in DSpace on 2016-08-17T19:19:19Z (GMT). No. of bitstreams: 1 Maria Tereza Mazziero de Souza.pdf: 1647061 bytes, checksum: 7fc3280429c88ffd076a539041b24f47 (MD5) Previous issue date: 2015-04-01 / Study on the imaginary construction process of the female public to consume the products of mass musical phenomenon in Brazil. Based on the case of the success of singer Michel Teló, representative of the “sertanejo universitário” musical genre, the goal is to. understand the imaginary construction process that permeates the female audience and consumption of “Sertanejo Universitário” genre, from the singer Michel Teló discourse. This theoretical framework of the field of Cultural Studies dialogues with studies on imaginary and mass music. Discourse analysis, a French line is the methodology used in two instances to test the reflections built with the theoretical basis: a priori, from a participant observation process for an artist show, which will be observed in the interaction between "phenomenon" and the public at the time of execution of his song "Oh, if I catch you!"; and henceforth the musician's speech is analyzed by means of interviews in television programs. A questionnaire administered to a sample of the female audience fond of the singer and his songs still contributes to further reflection. Results of this research, is the understanding of prominence of speech content. Thus, the most important is the way in which the singer speaks to his audience through the image he builds around himself. / Estudo sobre o processo de construção imaginária do público de gênero feminino ao consumir os produtos dos fenômenos musicais de massa, no Brasil. Tendo como base o caso do sucesso do cantor Michel Teló, representante do gênero musical sertanejo universitário, o objetivo é compreender o processo de construção imaginária que permeia a relação do público feminino (fãs) e consumo do gênero musical sertanejo universitário, a partir do discurso do cantor Michel Teló. Para tal, será tomado referencial teórico do campo dos Estudos Culturais em diálogo com estudos sobre imaginário e música de massa. A análise do discurso, de linha francesa, é a metodologia empregada em duas instâncias para se testar as reflexões construídas com a base teórica: a priori, a partir de um processo de observação participante, durante um espetáculo do artista, em que será observada a interação entre “fenômeno” e público, no momento de execução da sua música “Ai, se eu te pego!”; e, doravante, o discurso do músico é analisado, por meio de entrevistas realizadas em programas televisivos. Um questionário aplicado a uma amostra entre o público feminino apreciador do cantor e de suas músicas contribui ainda no aprofundamento da reflexão. Resulta desta pesquisa a compreensão da proeminência do discurso ao conteúdo. Desta maneira, a importância maior se encontra na forma com que o cantor dialoga com seu público, por meio da imagem que ele constrói em torno de si.