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published_or_final_version / abstract / toc / Sociology / Master / Master of Philosophy

Portland has a rich, active, and fluid music culture which is constantly being (re)created and (re)defined by a loose network of local musicians who write, record, produce, promote, distribute, and perform their music locally (and sometimes regionally, nationally, and internationally) and local residents, or audiences, who engage in local musical practices. Independent ("indie") local music making in Portland, which is embedded in DIY (do it yourself) values, creates alternative cultural places and landscapes in the city and is one medium through which some people represent themselves in the community. These residents not only perform, consume, promote, and distribute local music, they also (re)create places to host musical expressions. They have built alternative and democratic cultural landscapes, or culturescapes, in the city. Involved Portlanders strive to make live music performances accessible and affordable to all people, demonstrating through musical practices that the city is a shared space and represents a diversity of people, thoughts, values, and cultural preferences. Using theoretical tools from critical research about the economic, spatial, and social role of cultures in cities, particularly music, and ethnographic research of the Portland music scene, including participant observations and in-depth interviews with Portland musicians and other involved residents, this research takes a critical approach to examining ways in which manifestations of independent music are democratic cultural experiences that influence the city's cultural identity and are a medium through which a loosely defined group of Portlanders represent their cultural values and right to the city. In particular, it focuses on how local musical practices, especially live performances, (re)create alternative spaces within the city for musical expressions and influence the city's cultural landscapes, as well as differences between DIY independent music in Portland and its commodified forms and musicians and products produced by global music industry.

Lung Man Wai. / Thesis submitted in: December 2005. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references. / Abstracts in English and Chinese. / Abstract --- p.ii / Acknowledgements --- p.v / "Figures, Tables, and Examples" --- p.viii / Romanization --- p.ix / Abbreviations --- p.x / Chapter Chapter I --- Introduction --- p.1 / Chapter a. --- Related Studies --- p.10 / Chapter b. --- The Model --- p.17 / Chapter c. --- Methodology --- p.19 / Chapter d. --- Chapter Summary for the Thesis --- p.20 / Chapter Chapter II --- "Musicians, Service Seekers and Agents" --- p.23 / Chapter a. --- Training Backgrounds of Musicians --- p.25 / Chapter b. --- "The Network of Musicians and the ""Key Musicians""" --- p.33 / Chapter c. --- Discipline --- p.39 / Chapter d. --- Summary: How Can Musicians Obtain More Gaidong Performing Opportunities? --- p.45 / Chapter e. --- "Money vs. Dignity, Professional Ethics, and Competitions" --- p.46 / Chapter f. --- Service Seekers and Agents --- p.49 / Chapter Chapter III --- The Music of Gaidong --- p.56 / Chapter a. --- Repertoire --- p.57 / Chapter b. --- "Collections of Pieces - The Gaidong ""Fake Books""" --- p.67 / Chapter c. --- Choices of Music --- p.78 / Chapter d. --- Combinations of Instruments --- p.89 / Chapter e. --- Performance Practice and Improvisation --- p.92 / Chapter Chapter IV --- "Venue, Occasion and Audience" --- p.105 / Chapter a. --- Venue: Outdoors vs. Indoors --- p.107 / Chapter b. --- Occasion: Center of Attention vs. Background Music --- p.109 / Chapter c. --- The Role of the Host --- p.111 / Chapter d. --- The Audiences --- p.115 / Chapter e. --- Requests for Songs by Audience Members --- p.117 / Chapter Chapter V --- Influence from the Environment -Two Case Studies and the Impact of the Twelve Girls Band --- p.124 / Chapter a. --- "Case Study One: Chinese New Year Celebration at Hong Kong International Airport,2004" --- p.125 / Chapter b. --- Case Study Two: The Standard Chartered Bank Board Visit Staff Dinner --- p.129 / Chapter c. --- Other Examples of Gaidong Affected by the Twelve Girls Band --- p.139 / Chapter d. --- The Twelve Girls Band --- p.144 / Chapter e. --- Other Environmental Factors --- p.149 / Chapter Chapter VI --- The Model: The Ecology of Gaidong --- p.155 / Chapter a. --- Mutualism and Competition --- p.160 / Chapter b. --- The Extended Model --- p.161 / Chapter Chapter VII --- Conclusion --- p.164 / Appendix 1 List of Gaidong Performances in which the Author Participated --- p.170 / Appendix 2 Contents of the Gaidong Po --- p.175 / Appendix 3 Contents of the Blue Score --- p.181 / Appendix 4 Contents of the MLCO Gaidong Score Album --- p.183 / Appendix 5 Music Pieces Used in Gaidong: The Combination of Contents of Three Gaidong Scores --- p.184 / Appendix 6 Selected Scores from the MLCO Gaidong Score Album --- p.192 / Appendix 7 Agenda for Standard Chartered Bank Staff Dinner gaidong (Case Study2) --- p.196 / Appendix 8 Selected Scores Used in the Standard Chartered Bank Staff Dinner gaidong (Case Study2) --- p.198 / Appendix 9 A Copy of the Audience Members' Handwritten Requests for Gaidong No.84 --- p.200 / Character List and Glossary --- p.201 / References Cited --- p.205 / Websites --- p.210 / Supplementary Materials: / Chapter a. --- The Blue Book Scores / Chapter b. --- The Gaidong po Scores

Based on the geographical distribution of the unearthed musical instruments and their archaeo-cultural considerations, I first examine musical cultures of the Shang and Zhou dynasties in the seven-regions of Central Plain, Northwest, North, East, Southwest, South, and Southeast, each of which showed affinity to some particular political unit (state), ethnicity and social organization of the archaeological culture. Through regional and cross-regional analysis of the shape, composite and musical features of the instruments and their contemporary cultural significance, I argue that the Shang and Zhou musical cultures were primarily originated and developed in multiple cultural contexts along the Yellow River and Yangtse River areas. Among the seven regions, the Central Plain region occupied a dominant position. The other regions of musical culture developed independently but maintained close cultural interaction with the Central Plain region. / Lastly, I discuss the ritual-music function of the instruments in the formation of ritual-music system, the condition of the owners and players of the instruments, and the compositive set of ritual bronze vessels and instruments. I conclude that the social function of musical instruments in the Shang and Zhou dynasties had actually gone beyond music performance itself. They had functions of performing music, executing sacrifice, and symbolizing the socio-political status and ranks of individuals. / This dissertation is an archaeo-musicological study on unearthed musical instruments of the Shang (1600 B.C.--1046 B.C.) and Western Zhou (1046 B.C.--771 B.C.) dynasties in China. Using the unearthed musical instruments in conjunction with other related archaeological findings and ancient Chinese documents, I discuss issues relating to the multi-structure and social function of these instruments within their socio-historical contexts. / Using the textual information from oracle bone inscriptions, bronze inscriptions, and Chinese classical texts, I explore the functions of the unearthed musical instruments in terms of sacrificial activities and the Liyue (ritual-music) system. I identify four types of excavation (dwellings, sacrificial pits, hoards, and tombs) to elucidate the relationship between sacrificial activities and musical instruments. I then discuss the metaphor of the instruments' decorations and the use of instruments in the ritual activities such as praying for rain and ancestral cult. / 方建軍. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻(p. 277-316). / Adviser: Tsao Poon Yee. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2380. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in English. / School code: 1307. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (p. 277-316). / Fang Jianjun.

The following thesis is an exploration of some of the limits of subcultural theory. Beginning with an overview of British subcultural theory, it uses two examples of contemporary musical practice to provide alternative readings of cultural activity in a global cultural economy. Examining music scenes in Montreal as well as New Zealand music fans in North America, the following is a consideration of the construction of cultural communities across the globe it offers an analysis of the depth and scope of their interactions and how a range of cultural values and meanings are produced, distributed and consumed within those communities. Rather than seeing subcultures as geographically located in specific and discrete locales, I aim to illustrate how the various networks connecting them (whether they be affective alliances or computer-mediated communications) have in many ways realigned these communities along axes which differ from those proposed by earlier subcultural theories.

Thesis (Ph. D.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaves 256-265). / Also available by subscription via World Wide Web / xii, 265 leaves, bound ill. 29 cm

Doctorat en sciences sociales, politiques et économiques / info:eu-repo/semantics/nonPublished

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This dissertation shows how gay, trans and queer performers in Brazil, Portugal, and Angola, working in traditionally misogynistic, homo- and transphobic popular music genres, have successfully claimed and refigured those genres and repertoires through iterations of transgender voices and bodies. I show how Pabllo Vittar, Fado Bicha and Titica refigure normative gendered conventions of sex and song through trans formations of popular music genres. I locate them within a genealogy of queer Luso-Afro-Brazilian popular music practices and performances that deploy trans formations of voice, body, and repertoire. I trace a genealogy of transgender voice in Brazilian popular music to Ney Matogrosso’s 1975 debut release, through which I reveal a cacophony of queer, indigenous and Afro-Brazilian intersections; and in Portuguese popular music to António Variações 1982 debut, through whom I trace a fado genealogy of Afro-diasporic cultural practices, gender transgression and sexual deviance. Finally, I locate Titica’s music in practices of the black queer diaspora as a refiguring of Angolan postcolonial aesthetics. Together, these artists and their music offer a queer Luso-Afro-Brazilian diaspora in spectacular popular music formations that transit beside and beyond the Portuguese-speaking world, unbound by it, and refiguring hegemonic Luso-Afro-Brazilian discourses of gender, sexuality, race and nation.