My dissertation explores the transmission of musical knowledge between China, Portugal, and France in the context of a global Enlightenment. Through the lenses of two treatises authored by Jesuit missionaries serving at the Chinese Imperial Court––one introducing Western music to China, the other introducing Chinese music to France––I investigate how music and the system of knowledge represented by each treatise challenged their audience's worldview: although their interpretation differed, both the Europeans and the Chinese acknowledged China as the origin of the Western civilization. I argue that this construction of a universal history that accommodates all cultures on a single timeline shows there was a common effort across the globe to systematize the diversity of the world's musical cultures into one coherent principle and, more importantly, that the Enlightenment did not originate in Europe but was built on a shared effort of the East and the West to use history to make sense of the expanding globe. My research offers a new model for musicological studies by situating music at the intersection between East Asian Studies, Mission Studies, History of Science, and Global History. Moreover, it challenges the preconceived notion of the Enlightenment as a purely European phenomenon and argues instead that the Enlightenment was global at its inception. In doing so, it moves beyond the framework of dissemination and the comparative approach that characterize much of the past scholarship on global history. Emphasizing simultaneous emergence over successive development and integration over connection, I examine how local societies actively incorporated foreign systems of knowledge in the face of globalizing forces and how this incorporation not only expanded but also transformed their conception of the world.

The presence of popular music is ever growing in today’s society and a lot of people pay to stream music from services such as Spotify or Apple Music. Since popular music and its lyrics are present through most of our day to day lives, the value which consumers place on the words they hear through pop songs becomes an interesting topic for discussion. This study stands on the shoulders of the previous research on the topic of lyrics done by Deborah R. Ostlund, Richard T. Kinnier and Alexander Carpenter, amongst others, and looks at the value of lyrics in popular songs amongst youths of Sweden. Using the song “Kan inte gå” by the popular Swedish band Bolaget, the study turns to both the producers of the song as well as upper-secondary school students and asks them what they thought when they wrote and heard the lyrics of the song, respectively. When dealing with a representative of the band a quality interview was chosen for method of approach and when the students were contacted a quantitative survey was used.  The results of the study show that while music producers do keep the consumers in mind when writing lyrics, it is not always to satisfy their values. To the producers, the performance space is an equally important factor. It is up to the artist to be sure that they can stand by what they sing about. Furthermore, the youths do not necessarily care what the lyrics are as they are the words of someone other than themselves, meaning they do not have to agree with what their favorite artist sings about. This perspective admittedly varied in how consistent it was amongst participants, some did find it more important that the lyrics represented their personal values. Finally, when it comes to determining what makes a good song, music producers seem to know better than consumers what they enjoy listening to. Some of the participants of the survey were adamant that “Kan inte gå” was a bad song, yet still called it a “banger”. In conclusion, it turns out that the role of lyrics in modern, Swedish popular music is to help the song become just that: a banger.

This thesis examines the musical cultures associated with extreme-right politics, considering not only what this music projects about extreme-right ideology, but also the various ways in which music functions as part of a political subculture. This analysis extends beyond the stereotypical extreme-right music associated with the skinhead subculture, often referred to as Oi!, to incorporate extreme-right engagement with genres such as metal, folk, country and classical music. The chapters explore various aspects of identity—including race, sexuality, gender and class—and their significance to and reflection through extreme-right music, as manifested in genre choices, lyrics, album artwork and the features of the music itself. The thesis also considers the way in which less explicit content is produced and the motivation behind this, the importance of myth and fantasy in extreme-right music, and the way that the conspiracist mindset—which is prevalent, albeit not homogeneous, in extreme-right culture—is articulated both in extreme-right music and in the interpretation of mainstream music as antagonistic to extreme-right goals. Music is significant to extreme-right politics for a number of reasons. It is generally understood to be an effective tool in the indoctrination and recruitment of individuals into extreme-right ideology and politics, which is why music is sometimes freely distributed, particularly to youths. The very existence of this music can act to legitimise extreme-right views through the implication that they are shared by its producers and audience. Music also acts as an important tool for the imagining of an extreme-right community through its creation of a space to meet and create networks, a function consolidated by the media surrounding music, particularly websites, forums and magazines. As well as constructing the spaces for extreme-right communities, this music plays an important role in identifying the characteristics of those communities, in articulating what it is to be “us” as contrasted to “them.” Analysis of this music suggests that it has the ability to resolve the ideological contradictions which define the extreme right, even as this analysis reveals such contradictions.

Electronically-produced dance music has only recently achieved as much visibility in the global pop music industry as ‘live’ or instrumental pop. Yet the fascination of cultural scholars and sociologists with dance music predates its rise as a product of mass culture. Much of this interest derives from early associations of dance music with marginalised groups and oppositional ideologies. It therefore follows that many explorations of dance music focus on the ways in which techno, house and practices of ‘raving’ are expressions of dissent. As a result, the cultural aspects of dance music are necessarily the focus of these studies, with few musicologists addressing musical features and fewer dance scholars considering the specifics of dance movement. What is more, these differing approaches tend to compete rather than collaborate. In my thesis, I seek to address this divergence and to draw attention to the ways that contrasting disciplinary approaches can complement and enrich the study of any music. I use contemporary techno club nights in Edinburgh as a focal point for addressing musical and social triggers for dancing. I explore subjective experiences of dancing, DJing and producing by interspersing a review of existing literature with my own ethnographic research and musical analysis. Subsequently, I consider how the philosophies of techno are embodied within the movements and postures of the dancing body and social interaction. Participants in techno settings adopt strikingly similar attitudes to the institutionalised classical music world, despite the fundamental differences between the practices of composition, performance and listening. Moreover, these attitudes are repeatedly disseminated by participants, journalists and scholars. My enquiry into social and musical dancing triggers leads me to question the perpetuation of these ideas.

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How forgivable is a musicological text on deconstruction two decades after its assimilation by the other "humanities" disciplines? Moreover, how forgivable is a discipline as a whole which has allowed one of the most challenging aspects of post-war critical theory to pass it by to this extent? In no other field are Laing's remarks more likely to resonate today than that of critical musicology. Even the adoption of the critical epithet itself is a relatively recent phenomenon. However, it is indicative of an emergent desire for musicology to finally engage with contemporary critical discourse in general. Such a call has been made from "outside" the profession by cultural critic Edward Said, who calls for an end to "the generally cloistral and reverential, not to say deeply insular, habits in writing about music." [Musical Flaborations, p.58] From "within" the field, Susan McClary laments that the crucial critical debates are "almost entirely absent from traditional musicology." [Feminine Endings, p.54] Likewise, what is increasingly unforgivable according to Ruth Solie is "our customary methodological behindhandedness [sic]" [Musicology & Difference, p.3]. Various routes away from the methodological backwaters have been suggested. For instance, in a conference paper in 1984, Richard Middleton defined a twofold approach which appears to combine aspects of structuralism and Marxism. Middleton called firstly for a move in to "semiology, broadly defined and stressing the social situation of signifying practise: this should take over from traditional formal analysis." [quoted in Shepherd, Music as Social Text, p.209] Secondly, this should be supplemented with an "historical sociology of the whole musical field, stressing critical comparison of divergent sub-codes of the 'common musical competence': this should take over from liberal social histories of music" [ibid., p.209] As a method for introducing this new musicological mode, Middleton recommends the inclusion of popular music as a field of study. Indeed, his implication is that such a challenge to the classical hegemony would naturally entail a move towards this twofold approach, and would by itself open up "a golden opportunity to develop a critical musicology" [Studying Popular Music, p.123]. In this sense, an expansion of the field of study could lead to a necessary adoption of new methodologies.

Die Gesamtheit der musikwissenschaftlichen Tätigkeitsformen kann mit einem großangelegten Betrieb oder - noch genauer ausgedrückt - mit einem Markt verglichen werden.

The midtown aesthetic and culture, seen through the specific case of the group Musical Elements, reveals that the schism between uptown and downtown composers in New York in the 1970s is a critical construct that is an oversimplification of an infinitely more complex, dynamic and nuanced musical atmosphere. Furthermore, the hyper fixation on the uptown/downtown dichotomy as perpetuated by subsequent analysts has obscured the actual intersectional environment between uptown and downtown, in particular, the midtown aesthetic and culture, which is more accurately depicted as a transitional arena of cooperation and exchange operating successfully in between the perceptions of the polarized dichotomy. This thesis attempts to place Musical Elements as central to the development and promotion of a midtown culture, aesthetic, and sensibility. This is not to say that this ensemble represents the only ensemble or group of composers promoting a midtown culture. But a historiographical exploration of the so-called uptown/downtown schism, along with interviews with those affiliated with Musical Elements and analyses of works associated with the group, reveals how a midtown culture and philosophy helped bridge the gap between uptown and downtown.