19世紀下半葉，留聲機的發明與唱片產業的崛起，大幅催化了世界各地音樂與文化的交流，隨之而興的流行歌曲也自然成為了無數歷史信息、群體情感與個人記憶的載體；雖或因族群、階級、學派中的各種歧見而初未能得到公正評價，但到多元思想起而與商業邏輯拮抗的1990年代以降，從大眾、文壇到學界，已有愈來愈多人肯認了流行歌曲在文學、音樂與社會等各方面的研究意義與價值，有關華語流行歌曲的研究，亦形成了一個新興的學術領域，本論文即為其中一環。本文緒論首先針對既有論著，提出以「文學、音樂、社會」三面與「知識、技能、情感」三向為之分類，述評其方法成果。其次，採取文學面、技能向的立場，在研究方法上，提出「以作品所預設之目的來評判作品」及「以『合樂』的考量探討辭章、聲韻」的原則，並且說明了華語歌曲所固有的聲韻問題，提出裨益實際創作的研究主張，而不僅將流行歌曲作為某學科議題的資料。正文則以傳統文學「知人閱世」的進路，採詞話形式，在1970-2013年台灣的國語流行歌詞之中，選錄特別流行、創新，或能代表時勢演變之作，介紹其背景、主旨與流傳情形，分析其觀念、技法與影響，以貢獻於當代中文世界「流行詞學」典律的建立，俾讀者從中建起一個大概的演變圖景 = The invention of gramophone records and the rise of music industry in late 19th century have greatly catalyzed the global interaction of cultures, and subsequently contributed to the emergence of pop songs. However, owing to various ethnical, class and academic differences in various cultures, the importance of pop songs as carriers of historical data, collective sentiments and personal memories has not been adequately appreciated. Only in recent years have the musical, sociological, and cultural significance of critical research in pop songs and lyrics gained wider recognition among academics, intelligentsia, and mass consumers.Born in the confluence of political intervention, social stereotypes and commercial interests in the Shanghai International Settlement since 1927, Chinese Pop songs had produced lasting classics and fading stars with ebbs and flows of historical personages and political dynasties. More studies were made amid the antagonism between commercial logic and cultural pluralism during the 1990s. A new academic field was thus brought into being. This dissertation is meant to provide a critical link in this field. The dissertation introduces a framework to analyze Chinese Pop songs in three dimensions: literary, musical, and social, as well as the involved three aspects : knowledge, skills, and emotions. Relevant writings and discourses are categorized, with their methods described and their achievements commented upon. It then considers the aspect of skills within the literary dimension by following the methodology of traditional lyrics studies, and expands beyond its pure academic critique of creative writings to the principles of generating creative writings. This framework is then used as a basis to analyze the evolution of concepts and techniques in the creation of Chinese Pop songs. This dissertation aims at providing researchers and writers a set of flexible methods to comprehend and utilize the creative enterprise from an objective vantage point.

No description available.

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

Text in English with abstracts in English, isiZulu and Xhosa / Page numbering of table of contents inconsistent with dissertation. Appendix A : Full transcription only of Tip toe by Lacey May / What is it about the vocal melodies of popular music that make you want to listen again and again? This music-theoretical study applies principles of Gestalt psychology and theories of expectation to a study of melodic hooks in 21st-century popular music. The hypothesis tested here is that melodic hooks are a vital element in “catchiness”. Transcription and analysis of melodies by major recording artists is used to explore the note-to-note basis for melodic hooks. The analysis of recordings by Adele, Carly Rae Jepsen, Pharrell Williams and Robin Thicke shows how factors of repetition, familiarity, simplicity, resolution, ambiguity of key, and expectation all contribute to the sense of catchiness in music. A listener-response study was used to test the experience of catchiness in the case studies, and corroborates the hypothesis that catchiness depends principally on expectation as an overarching factor. The study also uses auto-ethnographic reflection on the practice of song-writing to give insight into strategies for creating catchy popular songs. The experience of composing a pop song, and releasing it on air, provides unique insight into the artistic process. The results of all these studies show that the perceptual principle of expectation is a crucial factor in the experience of catchiness. / Ingabe yini eyenza iminkenenezo yomculo odumile ikukhange futhi ikuhehe ufise ukuwulalela kaninginingi? Lolu cwaningo lwethiyori yomculo lusebenzisa imigomo ye-Gestalt psychology kanye namathiyori alokho okulindelekile (theories of expectation) ukucubungula nokuhlaziya amavesi eminkenenezo emnandi futhi ekhangayo yomculo odumile wekhulunyaka lama-21. Ihayiphothesisi ehlolwayo lapha wukuthi amavesi eminkenenezo emnandi futhi ekhangayo ayingxenye esemqoka kakhulu “ekukhangeni” komculo. Ukubhalwa nokuhlaziywa kweminkenenezo yabaculi abayizikhondlakhondla abaqopha umculo kuyasetshenziswa kulolu cwaningo ukucubungula inothi nenothi levesi lomnkenenezo omnandi futhi okhangayo. Ukuhlaziywa komculo oqoshiwe ka-Adele, Carly Rae Jepsen, Pharrell Williams kanye no-Robin Thicke kuyabonisa ukuthi izinto ezinjengokuphindaphinda, ukujwayeleka komculo othile, ubulula bomculo, ukuguquka kwenothi lomculo libe ngumnkenenezo ohlabahlosile (resolution), ukungaqondakali nokungaqiniseki ngokhiye womculo (ambiguity of key), kanye nalokho okulindelekile, konke kuyizinto ezilekelelayo futhi ezifaka isandla ekukhangeni komnkenenezo womculo. Ucwaningo lwendlela abazizwa ngayo abalaleli bomculo lwasetshenziswa ukuhlola ukuthi bakhangekile yini labo balaleli bomculo, kwizincwaningo-zigameko zokulalelwa komculo, futhi lolu cwaningo lwasekela lwaphinda lwaqinisekisa ihayiphothesisi ethi ukukhanga komnkenenezo womculo kuncike ikakhulukazi kulokho okulindelwe ngumlaleli womculo njengombandela-ngqangi wokuheheka nokukhangeka kwakhe. Ucwaningo lusebenzisa futhi nokuzibandakanya komcwaningi (auto-ethnographic reflection) enqubweni yokubhalwa kwamaculo ukuze athole ulwazi olunzulu futhi aqondisise kahle amaqhingasu okuqamba izingoma ezidumile ezinomnkenenezo omnandi futhi okhangayo. Ukuzibandakanya enqubweni yokuqamba ingoma yomculo we-pop, kanye nokuyikhipha ukuze idlalwe emisakazweni, kuhlinzeka ngethuba eliyingqayizivele lokuqonda ngokujulile inqubo yokwenza umculo. Imiphumela yazo zonke lezi zincwaningo iyabonisa ukuthi umgomo wendlela-kuhumusha izinto ngokwalokho okulindelekile wumgomo osemqoka kakhulu ekufikelweni komuntu ngumuzwa wokukhangwa nokuhehwa ngumnkenenezo. / Zingantoni izandi ezimnandi zokuvuma ezivakalayo zomculo odumileyo okubangela ufune ukuwuphulaphula njalo njalo? Olu phononongo lomculo ngokwenkcazelo eyingcingane lusebenzisa imigaqo-siseko yemeko yengqondo iGestalt (Gestalt psychology) kunye neengcingane (theories) zokulindelweyo kufundo lwezandi ezinomtsalane okubambayo kumculo wenkulungwane yama-21 Ulwazi oluyingcamango engenabungqina oluhlolwe apha kukuba izandi ezimnandi zokuvuma ingoma ziyinto ebalulekileyo "ekubambeni lula". Ukubhalwa kunye nohlalutyo lweengoma ezenziwa ngabaculi abaphambili bokushicilela kusetyenziselwa ukuphonononga isiseko senowuthi ukusuka kwenye ukuya kwenye inowuthi ngokwezibambo zokuvakala kwezandi. Uhlalutyo lokushicilela luka-Adele, Carly Rae Jepsen, Pharrell Williams kunye noRobin Thicke kubonisa indlela izinto eziphindaphindwayo, zokuqheleka, zobulula, ukusombulula, nobumbolombini kwikhi kunye nokulindelweyo konke kunegalelo kumba wokutsalwa ubanmbeke emculweni. Uphononongo lokusabela komphulaphuli lwasetyenziswa ukuvavanya amava okufumana ifuthe lomtsalane kwizifundo zabucala, kwaye zihambelana nengcinga yokuba ukubamba kuxhomekeka ikakhulu kulindelo njengeyona nto iphambili. Olu phononongo lukwasebenzisa imbonakalo ezenzekelayo kwinkcazo yenzululwazi ngeentlanga kumsebenzi wokubhalwa kwengoma ukunika ukuqonda ngeendlela zokuyila ingoma ezimnandi ezidumileyo. Amava okuqamba ingoma ye-pop, kunye nokuyikhupha emoyeni, inika ingqiqo eyahlukileyo kwinkqubo yobugcisa. Iziphumo zazo zonke ezi zifundo zibonisa ukuba umgaqo-siseko wengcingane yokulindelweyo luphawu olubalulekileyo kakhulu kumava okubamba. / Art History, Visual Arts and Musicology / M. Mus. (Musicology)