Communicating to Change Communication: Alcoholics' Romantic Partners' Mutual-Aid Group Attendance in Relation to Communicati
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Psaudio Copper
Issue 116 JULY 27TH, 2020 “Baby, there’s only two more days till tomorrow.” That’s from the Gary Wilson song, “I Wanna Take You On A Sea Cruise.” Gary, an outsider music legend, expresses what many of us are feeling these days. How many conversations have you had lately with people who ask, “what day is it?” How many times have you had to check, regardless of how busy or bored you are? Right now, I can’t tell you what the date is without looking at my Doug the Pug calendar. (I am quite aware of that big “Copper 116” note scrawled in the July 27 box though.) My sense of time has shifted and I know I’m not alone. It’s part of the new reality and an aspect maybe few of us would have foreseen. Well, as my friend Ed likes to say, “things change with time.” Except for the fact that every moment is precious. In this issue: Larry Schenbeck finds comfort and adventure in his music collection. John Seetoo concludes his interview with John Grado of Grado Labs. WL Woodward tells us about Memphis guitar legend Travis Wammack. Tom Gibbs finds solid hits from Sophia Portanet, Margo Price, Gerald Clayton and Gillian Welch. Anne E. Johnson listens to a difficult instrument to play: the natural horn, and digs Wanda Jackson, the Queen of Rockabilly. Ken hits the road with progressive rock masters Nektar. Audio shows are on hold? Rudy Radelic prepares you for when they’ll come back. Roy Hall tells of four weddings and a funeral. -
The Effects of Globalization on the Status of Music in Thai Society
The Effects of Globalization on the Status of Music in Thai Society Primrose Maryprasith Thesis submitted for the Degree of Doctor of Philosophy at the University of London Institute of Education 1999 Abstract Globalization tends to be accompanied by two contrary processes: the one a celebration of newly opened international communications, the other, resistance to what is seen as an invasion of foreign culture. This research examines such processes in terms of perceptions of the status of music in Bangkok. The focus is on three main musical categories each of which, if vocal, uses Thai language in its lyrics: Thai classical, Thai country popular and Thai popular music. These musical categories, and the changing relationships between them, are examined in terms of three interconnected areas of perceptions of musical value: the position of music in education, the status of musical careers and the role of music in affirming national identity. Two sets of questionnaires were completed by 100 undergraduate students from 5 universities and 108 secondary-level school music teachers from 108 schools; and interviews were held with 10 respondents from 9 record companies. Whilst the students valued Thai classical music and country popular music as national symbols, they identified themselves with Thai popular music, which has become the main local musical product as a result of the globalization of the music industry. Contrastingly, the teachers understood Thai popular music as a capitulation to foreign culture. They used Thai classical music as the most common extra-curricular activity, but they nonetheless incorporated Thai popular music most often in classrooms. Careers involving Thai classical music were perceived as offering fewer rewards compared to other types of music. -
The Thai Popular Music Industry
THE THAI POPULAR MUSIC INDUSTRY: INDUSTRIAL FORM AND MUSICAL DESIGN NALIN WUTTIPONG, BFA, M Mus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy SEPTEMBER 2011 o ABSTRACT Popular music, as it is generally defined in its commercial existence, originated in the West and has been widely discussed in Anglophone academia. One of the key means of approaching it is in terms of political economy, by viewing the culture industry essentially as a model of capitalism, with the purpose of maximizing profit [Bumett, 1996; Frith, Straw and Street, 2001]. The debates between political economists and other popular music scholars have predominantly taken as their subject Western popular music. Yet it is important to point out that whilst studies focused upon cultural industries outside of Western contexts have been few and far between, many have proved extremely fruitful and enlightening, exploring issues not considered in Western-centered accounts. This dissertation will attempt to examine and describe the causes and effects of corporate control over the major labels, which have been influential in the Thai popular music industry since 1982, when the first major label was established. Furthermore, this dissertation will argue that the popular music industry in Thailand presents something ofa variation on Adorno's theme of mass culture, replicating certain aspects of his description while also diverging in important ways. The study of the development of Thai popular music in this dissertation can be divided into five important periods: the Pre-pop Era (from the emergence of The Impossible to 1982) and the Pop Era (1982-1994), the Indie Phenomenon (1994-1997), the Major Retum (1997-2002) and the present day (2002 to today). -
MUSIC CD in DEVELOPMENT and CONSUMER VALUE in the THAI MUSIC INDUSTRY by PHUNPITI BHOVICHITRA a Thesis Submitted for the Degree
MUSIC CD IN DEVELOPMENT AND CONSUMER VALUE IN THE THAI MUSIC INDUSTRY BY PHUNPITI BHOVICHITRA A thesis submitted for the Degree of Doctor of Philosophy to The Faculty of Management, University of Stirling, Scotland August, 2017 1 2 ABSTRACT While the digital market, especially the music streaming market, has rapidly grown in recent years, however the physical music segment still remains relevant in the Thai market. The Thai music market has inimitable characteristics within the market in terms of the physical music record offers, recorded musical works, and a growth trend in physical sales. Moreover, the behaviour in physical music consumption is opposite to that in world markets. Music consumption practices in the Thai market and why physical music, and CDs in particular, remain relevant to the Thai music industry are an enigma. The music industry itself has suggested that the physical music market needs to be revamped and its physical products redeveloped. In addition, the major record companies have also refocused into developing physical markets. However, precisely how this is to be achieved has not been specified. The twin aims of this study are to more fully comprehend Thai music consumption practices in today’s market and to examine how the concepts of product development could be effective in responding to consumer needs and desires. Consumer-led product development is the main concept of this study used to create ideas to enhance music CDs. This study combined many perspectives related to consumer-led product development and then applied them to construct the conceptual framework named “The Seminal Framework for CD Development”. -
Thai Popular Music: the Representation of National Identities and Ideologies Within a Culture in Transition
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2006 Thai popular music: The representation of national identities and ideologies within a culture in transition Lamnao Eamsa-Ard Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Ethnomusicology Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation Eamsa-Ard, L. (2006). Thai popular music: The representation of national identities and ideologies within a culture in transition. https://ro.ecu.edu.au/theses/62 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/62 Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2006 Thai popular music: the representation of national Identities and Ideologies Within a Culture in Transition Lamnao Eamsa-Ard Edith Cowan University Recommended Citation Eamsa-Ard, L. (2006). Thai popular music: the representation of national Identities and Ideologies Within a Culture in Transition. Retrieved from http://ro.ecu.edu.au/theses/62 This Thesis is posted at Research Online. http://ro.ecu.edu.au/theses/62 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. -
Thai Popular Music: the Representation of National Identities And
Thai Popular Music: The Representation of National Identities and Ideologies Within a Culture in Transition By Lamnao Eamsa-ard A Thesis Submitted in Fulfillment of the Requirements for the Award of Doctor of Philosophy, Faculty of Communications and Creative Industries Edith Cowan University 2006 Use of Thesis This copy is the property of Edith Cowan University. However the literacy rights of the author must also be respected. If any passage from this thesis is quoted or closely paraphrased in a paper or written work prepared by the user, the source of the passage must be acknowledge in the work. If the user desires to publish a paper or written work containing passages copied or closely paraphrased from this thesis, which passages would be in total constitute and infringing copy for the purpose of the Copyright Act, he or she must first obtain the written permission of the author to do so. DECLARATION I certify that this thesis does not, to the best of my knowledge and belief: (i) incorporate without acknowledgement any material previously submitted for a degree or diploma in any institution of higher education; (ii) contain any material previously published or written by another person except where due to reference is made in the text; or (iii) contain any defamatory material. Signature: Date: ABSTRACT Thai popular music always reflects and reproduces the concerns of Thai people in changing times especially in regard to issues relating to identity. The purpose of this study was to investigate the relationship between the preservation of Thai identity and the ideologies surrounding it and the adoption of Western innovation in Thai popular music.