Sound levels and risk perceptions of music students during classes

It is well recognized that professional musicians are at risk of hearing damage due to the exposure to high sound pressure levels during music playing. However, it is important to recognize that the musicians’ exposure may start early in the course of their training as students in the classroom and at home. Studies regarding sound exposure of music students and their hearing disorders are scarce and do not take into account important influencing variables. Therefore, this study aimed to describe sound level exposures of music students at different music styles, classes, and according to the instrument played. Further, this investigation attempted to analyze the perceptions of students in relation to exposure to loud music and consequent health risks, as well as to characterize preventive behaviors. The results showed that music students are exposed to high sound levels in the course of their academic activity. This exposure is potentiated by practice outside the school and other external activities. Differences were found between music style, instruments, and classes. Tinnitus, hyperacusis, diplacusis, and sound distortion were reported by the students. However, students were not entirely aware of the health risks related to exposure to high sound pressure levels. These findings reflect the importance of starting intervention in relation to noise risk reduction at an early stage, when musicians are commencing their activity as students.

Popular music exhibitions in Portugal: practices of representation from 2007 to 2013

This thesis focuses on the representation of Popular Music in museums by mapping, analyzing, and characterizing its practices in Portugal at the beginning of the 21st century. Now that museums' ability to shape public discourse is acknowledged, the examination of popular music's discourses in museums is of the utmost importance for Ethnomusicology and Popular Music Studies as well as for Museum Studies. The concept of 'heritage' is at the heart of this processes. The study was designed with the aim of moving the exhibiting of popular music in museums forward through a qualitative inquiry of case studies. Data collection involved surveying pop-rock music exhibitions as a qualitative sampling of popular music exhibitions in Portugal from 2007 to 2013. Two of these exhibitions were selected as case studies: No Tempo do Gira-Discos: Um Percurso pela Produção Fonográfica Portuguesa at the Museu da Música in Lisbon in 2007 (also Faculdade de Letras, 2009), and A Magia do Vinil, a Música que Mudou a Sociedade at the Oficina da Cultura in Almada in 2008 (and several other venues, from 2009 to 2013). Two specific domains were observed: popular music exhibitions as instances of museum practice and museum professionals. The first domain encompasses analyzing the types of objects selected for exhibition; the interactive museum practices fostered by the exhibitions; the concepts and narratives used to address popular music discursively, as well as the interpretative practices they allow. The second domain, focuses museum professionals and curators of popular music exhibitions as members of a group, namely their goals, motivations and perspectives. The theoretical frameworks adopted were drawn from the fields of ethnomusicology, popular music studies, and museum studies. The written materials of the exhibitions were subjected of methods of discourse analysis methods. Semi-structured interviews with curators and museum professional were also conducted and analysed. From the museum studies perspective, the study research suggests that the practice adopted by popular music museums largely matches that of conventional museums. From the ethnomusicological and popular music studies stand point, the two case studies reveal two distinct conceptual worlds: the first exhibition, curated by an academic and an independent researcher, points to a mental configuration where popular music is explained through a framework of genres supported by different musical practices. Moreover, it is industry actors such as decision makers and gatekeepers that govern popular music, which implies that the visitors' romantic conception of the musician is to some extent dismantled; the second exhibition, curated by a record collector and specialist, is based on a more conventional process of the everyday historical speech that encodes a mismatch between “good” and “bad music”. Data generated by a survey shows that only one curator, in fact that of my first case study, has an academic background. The backgrounds of all the others are in some way similar to the curator of the second case study. Therefore, I conclude that the second case study best conveys the current practice of exhibiting Popular Music in Portugal.

The effect of music marketing: A consumer perspective

The purpose of this thesis is to get a consumer perspective regarding event marketing in music festivals. Event marketing is a tool used by marketers that evolved out of philanthropy and commercial sponsorship. Brands are more and more using music or other entertainment moments to create a strong relationship with their clients, and the target group at these events, the millennial generation. Brands use sponsoring and therefore event marketing for several reasons as: increase brand awareness; create brand image; re-position the brand/product in the minds of consumers; increase profit over a short period; and, achieve larger market share. Nonetheless, we wonder how is this tool seen by consumers? To understand this, a preliminary research with nine interviews was conducted to obtain basic ideas about event marketing. Afterwards the main research was developed, also using interviews, to get deeper insights. With this thesis, it is possible to conclude that some brands are able to create brand awareness on attendees through brand sponsorship. Moreover, entertainment activities in festivals are well seen by consumers, they like it and are able to describe it well, even though it is more about the activity itself than the brand promoting it. Furthermore, it was possible to understand that experiential marketing in a festival might have a positive effect on consumers as it might create a link between the event and the brand. Finally, we recommend some actions, for brands to develop in future music festivals.

Armorial flamand et lorrain, avec blasons coloriés.

Contient : Traités de blason ; le second est du XVe siècle ; Description des armes portées par divers seigneurs français (XVIe siècle)

Armorial des Croisés et armoriaux divers.

Contient : Des « ordonnances » qui « ont esté faictes en l'Empire, depuis qu'il a esté transporté aulx Allemans » ; « Comment se couronne Empereur... Couronnement de Charles V » à Aix-la-Chapelle, en 1520 ; « Le couronnement du roy de Franche... » Couronnement de Henri II ; « Receuille de plusieurs fondations de villes et villaiges en Haynault » ; Chroniques abrégées de Jérusalem (1096-1217) et armorial des Croisés ; Armorial d'Allemagne, de Flandres et des Pays-Bas

Armorial, ou « Livre de armoisies de la cronique du très crestien roy de France, Françoys de Valloys, premier de ce nom et de ses très haultz nobles barons et libéraulx chevalliers ».

Petit traité sur le blason, suivi des blasons coloriés de gentilshommes du temps de François Ier.

Armorial, sans figures, de princes et seigneurs, rangés dans l'ordre suivant.

Lorraine (fol. 1) ; comté de Vaudémont (fol. 10) ; comté de Bar (fol. 15) ; Le Pont, marquisat (fol. 23) ; France (fol. 27) ; Champagne, Bourgogne et Brie (fol. 52) ; Aquitaine (fol. 64) ; Guyenne (fol. 70) ; Languedoc (fol. 74 v°) ; Anjou (fol. 78) ; Maine (fol. 81 v°) ; Touraine (fol. 83) ; Anjou, Touraine et Maine (fol. 85) ; Berry (fol. 93) ; Bourbonnais (fol. 95) ; Auvergne (fol. 96) ; Poitou (fol. 98) ; Bourbonnais, Berry, Auvergne et Poitou (fol. 100) ; Normandie (fol. 112) ; Flandres (fol. 126) ; Bretagne (fol. 143) ; Artois (fol. 154) ; Beauvaisis (fol. 161) ; Vermandois (fol. 164) ; comté de Corbie (fol. 169) ; Ponthieu (fol. 172) ; Dauphiné (fol. 177) ; Provence (fol. 179) ; Savoie (fol. 182) ; Brabant (fol. 186) ; « Lutzelburg » (fol. 194) ; comté de Bourgogne (fol. 201) ; Hollande (fol. 204) ; Zélande (fol. 208) ; comté de Hasbain (fol. 211) ; Hainaut (fol. 213) ; Angleterre (fol. 226) ; Écosse (fol. 238) ; Castille (fol. 243). Suivent plusieurs listes de seigneurs, avec l'indication de la pièce principale de leurs armoiries, dans l'ordre suivant : France (fol. 245) ; Bourgogne et Champagne (fol. 248) ; Aquitaine (fol. 249 v°) ; Guyenne (fol. 250 v°) ; Toulouse (fol. 251 v°) ; Anjou (fol. 252) ; Maine (fol. 253) ; Touraine (fol. 253 v°) ; Anjou, Touraine et Maine (fol. 254) ; Bourbonnais (fol. 255) ; Berry (fol. 255 v°) ; Auvergne (fol. 256) ; Poitou (fol. 256 v°) ; Berry, Bourbonnais, Auvergne et Poitou (fol. 257 v°) ; Normandie (fol. 259 v°) ; Flandres (fol. 261 v°) ; Bretagne (fol. 265) ; Artois (fol. 267) ; Beauvaisis (fol. 267 v°) ; Vermandois et comté de Corbie (fol. 268) ; Dauphiné (fol. 268 v°) ; Provence (fol. 268 v°) ; Savoie (fol. 270) ; Brabant (fol. 271) ; « Luthzelburg » (fol. 273) ; Bourgogne [comté] (fol. 275) ; Hollande (fol. 276) ; Zélande (fol. 277) ; Halbain (fol. 277 v°) ; Haynau (fol. 278) ; Angleterre (fol. 281) ; Écosse (fol. 284) Castille (fol. 286) ; Sicile, Naples, Aragon, « Trinade » (fol. 287) ; Navarre (fol. 288) ; Portugal (fol. 289) ; Hongrie (fol. 290) ; « Behaine » (fol. 291) ; « Poulaine » (fol. 292) ; « Hirlande » (fol. 293) ; Autriche (fol. 294) ; Bavière (fol. 295) ; Saxe (fol. 296) ; Souabe (fol. 297). Aux feuillets 1, 8, 23, 27, 52, 85, 90, 105, 112, la signature « De La Ruelle ».