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PhD Proposal Summary #cliffnotes #overview #nothappeninganytimesoon

Below is a summary of one of the many PhD proposals I submitted to various universities internationally. While I was able to get into more than 15 very competitive unis, I couldn’t secure even the slightest amount of funding from any of them. It’s been three years now and I don’t seem to be any closer to getting that funding. I have contemplated switching my topic and applying again, but I may have to hold off on it since my topic being accepted hasn’t been of issue, rather funding has been my main issue. However, enough time has passed that parts of my research are irrelevant and other parts are no longer original since it has been encompassed in other researcher’s findings. The more time that goes by, the less my specific lens in regards to the topic is original or new. And therein lies the dilemma.

Anyways, here is a snapshot of one of my proposals. My other proposals are variations of the same topic. As you may know, every university has different proposal requirements. Some want a 15 page proposal, some want a 5 page proposal. Others want a full literature review, while others look down on what they deem “name dropping.” Here is just one of the many variations of proposals I have saved.

Enjoy…

Project Overview

Research Title: Transnational Contemporary Palestinian Music: Transnational Palestinian Identity Formation, Palestinian Experience and its Role in Israeli Affairs

Palestinian contemporary music, particularly Palestinian hip-hop, which is very popular amongst Palestinian youth, acts as a medium for the Palestinian experience. Palestinian musicians voice their experiences and identity through their lyrics and this music acts as a medium to explore transnational Palestinian identity formation in the US and UK, seeing as this music is consumed globally by the Palestinian diaspora. [1] This research intends to study the role of Palestinian contemporary music in formulating a transnational Palestinian identity, how this transnational identity creates a new vision of Palestinian citizenship or activism and how this transnational identity and Palestinian citizenship influences Israel’s international relations.

Project Scope

The case study for this research is contemporary Palestinian music and its role in identity expression and formation, drawing a parallel between Benedict Anderson’s Imagined Communities concept that print capitalism brought the rise of the nationalism,[2] in turn globalisation’s role in transnational music distribution brought the rise of a transnational Palestinian identity. This research will assess in detail how this identity formed and what role this identity plays in their political activism concerning Israeli domestic and foreign relations. This will be achieved by researching the Palestinian community’s interactions with music and political opportunity structures in their home country’s, as well as Israel.

The members of DAM, a prominent Arab hip-hop group, come from Al-Lid, Israel, although they very strongly identify themselves as Palestinian in their lyrics. DAMs closing lyrics to their song, Stranger in My Country, illustrate their multi-layered identity. And our Arabian roots are still strong. But still our Arabian brothers are calling us renegades. No. We never sold our country. The occupation has written our destiny. Which is, that the whole world till today is treating us as Israelis. And Israel till tomorrow will treat us as Palestinians. I’m a stranger in my own country.” [3]

The lyrics of DAMs, Stranger in my Country, express feelings felt by Palestinian citizens of Israel. DAMs lyrics act as a form of communication to Palestinians living in other regions, serving as a form of news to these regions that otherwise may be unaware of what Palestinians in Israel experience. This leaves the Palestinian listeners with their own experiences that form their identity, in addition to the connection they have formed with other Palestinian experiences that influence their experience hereon in, and take part in shaping their identity. This hybrid identity then influences the state of Palestinian citizenship, affecting actions taken by Palestinians, political affiliations and civic duties, creating a transnational Palestinian citizenship.

Project Empirical and Methodological Overview

This project will assess why and how the Palestinian diaspora interacts with contemporary Palestinian music, embracing Palestinian identity or eschewing the community they live in as a form of political participation by using a postmodernist theory of methodology,[4] linking the use of music with political activism amongst Palestinians in the diaspora.[5] It will focus on organisational development of politically active groups on the macro, meso and micro levels, as well as diaspora Palestinian political inspirations found in Palestinian contemporary music. This project will garner empirical data through interviews with Palestinian music listeners and political activists, in order to build a comprehensive overview of how Palestinian lyrics and music can influence its listeners to form a transnational community that acts in benefit of a nation it does not live in. I also plan to translate and analyze Palestinian song lyrics and compare these lyrics to news reports that report socio-political circumstances of Palestinians. Attending conferences or concerts in which Palestinian musicians perform will give me better access to interview Palestinian contemporary music listeners. These interviews plan to get a better understanding of how Palestinians define their experiences, what constitutes a Palestinian identity, how connected they are to Palestinians in different regions, how they view Palestinian hip-hop and contemporary Palestinian music, as well as get a better idea of their political influences.

From the data collected, I will then seek to build a wider theoretical framework to analyse the Palestinian diaspora’s formulation of identity, how this identity is measured and the influence this identity has on Israeli foreign and domestic decision making. This research will build on the work of Usama Kahf, who researched Palestinian hip-hop and identity in Israel and its relation to the Palestinian political struggle;[6] Andy Bennett’s research that explored youth consumption of music and how this music is used to define the self;[7] Amal Jamal, who researched media’s use in cultural resistance, as well as Israeli media policies towards Palestinians;[8] and Bakari Kitwana’s research on rap music’s role in cultural movement and political power.[9]

A challenge arises as Palestinian hip-hop and other forms of contemporary Palestinian music is male dominatedHow does this dynamic play into identity formation amongst Palestinian women and does it have any impact on the political activism of Palestinian men or women?

Timeline

This research is expected to take up to three years as follows:

  • September 2015 January 2016Preliminary research, survey of literature and interpretive models.
  • February 2016 December 2016 Fieldwork, interviews and data collection.
  • January 2017 March 2017 Collate data and assess an interpretive model.
  • April 2017 September 2017 Development and presentation of preliminary findings and analysis.
  • October 2017 January 2018 First draft.
  • February 2018 October 2018 Final write up.

Project Aims and Objectives

This study will act as a vehicle case study for critiquing current research approaches to identity formation through music and its influence on international relations. It will be designed to challenge the paradigm that views transnational musical identity formation as insignificant in the face of international relations. This research is important because it fills existing empirical and theoretical gaps. Empirically, there is very little research on contemporary music’s role on the formulation of a transnational identity that leads to a politically active community that is capable of enacting change on an international level. There is also limited understanding of the Palestinian diaspora’s political aspirations and even less understanding of Israel’s interaction with Palestinian musical messages. This research looks to conduct thorough empirical research, particularly through interviews, observational data collection, quantitative monitoring of Palestinian music consumption amongst the diaspora. It will also involve an in depth analysis of contemporary Palestinian music’s lyrics, the messages intended in the music, as well as researching the connection between Israeli political relations and music.

Theoretically, this research will explore the limitations set forth by not incorporating an interdisciplinary approach to the subject of transnational musical identity’s influence on international relations and political activism. This research will utilise data to create an extended postmodernist framework to assess motivations for political activism in the diaspora and how much of that political activism is due to their Palestinian identity that was formed in part by Palestinian contemporary music.

Reasons for the Research

Recent social-political movements, such as the divestment campaigns led by Palestinian activists in the diaspora, and these movements links to transnational Palestinian identity, demonstrates the needs to understand the influence of transnational Palestinian music on this community. This research serves the purpose of better defining the Palestinian identity and what is means to be Palestinian,[10] as well as how contemporary Palestinian music has influenced this process. Once a better understanding of Palestinian identity is established, a better understanding of their experiences, their needs, desires, hopes and political aspirations as a collective can be recognised. As Palestinian youth become more influential in their societies, their shared transnational experiences and identity will shed insight onto the socio-political future of Palestinians and Israelis.    

Works Cited

1. P. Katzenstein, The Culture of National Security: Norms and Identity in World Politics, (Columbia University Press, 1996 ).

2. Bennett, Andy. Popular Music and Youth Culture: Music, Identity, and Place. Houndmills, Basingstoke, Hampshire: Palgrave, 2000. Print.

3. DAM. Stranger in My Own Country. 2007. MP3.

4. Keri E. Iyall Smith and Patricia Leavy (eds.), Hybrid Identities,  (Haymarket Books 2009), 267.

5. Jamal, Amaney and Nadine Naber, Race and Arab Americans Before and After 9/11: From Invisible Citizens to Visible Subjects , (Syracuse University Press, 2008).

6. Kahf, Usama. “Arabic Hip-Hop: Claims of Authenticity and Identity of a New Genre.”That’s the Joint!: The Hip-hop Studies Reader. By Murray Forman and Mark Anthony. Neal. New York: Routledge, 2012. N. pag. Print.

7. Bennett, Andy. Popular Music and Youth Culture: Music, Identity, and Place. Houndmills, Basingstoke, Hampshire: Palgrave, 2000. Print.

8. Jamal, Amal. The Arab Public Sphere in Israel: Media Space and Cultural Resistance. P. 23-24, Bloomington: Indiana UP, 2009. Print.

9. Kitwana, Bakari. That’s the Joint!: The Hip-hop Studies Reader. Ed. Mark Anthony. Neal and Murray Forman. New York: Routledge, 2012. N. pag. Print.

10. Darcy Zabel, Arabs in the Americas: Interdisciplinary Essays on the Arab Diaspora, (Peter Lang Publishing, 2006), 35-39.

It’s Like That #ootd #fashionpost #style

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Dr. Drum Review—Beat or Bust?

spotlightHopfeedCreative

Dr Drum is a professional beat making software without the hefty price tag or steep learning curve normally associated with software of this calibre.
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The software comes complete with everything needed to start making banging beats including professional sounds kits for both drums, bass and keys and the ability to import more if required.It has been specifically designed to be naturally intuitive to use  for the user while still producing studio quality .WAV format beats.

The software will work on both PC and MAC and has been tested to work flawlessly on all versions of these operating systems.

 

If you’ve been around for long and have been trying to find the perfect beat making program you know that there are basically two types of beat programs. There’s the type that produce cheap sounding quality that only your mother would be proud of, and there’s the professional quality programs that will cost you a whole lot of money and you’ll have to spend months to figure out if you can before you throw your hands up in frustration.

 

You want to make music, and you want to do it now with results you can take to clubs or sell to producers with pride, but not break the bank doing it.

Well, let me tell you that there’s now a way to do just that.

Dr. Drum Beat Making software has everything you need and you won’t have to eat Ramen Noodles for the rest of your life to pay for it either. Better yet, this affordable software will make your music shine, and create the work that you can really use as a professional musician.

 

What you get with the Dr. Drum Beat Making Software:

– Beats, Beats and More Beats
– A full-scale beat maker that offers you dozens of kits
– 12-pad sound with each kit
– Drag and drop import ability to bring in your own beats
– An immense database of exclusive beat sounds
– Single click ability to move sounds where you want them in the track
– 4-Octave Keyboard
– Create pianos, strings, synth, sax and more
– Special effects to create unique sounds
– Drag and drop import ability to bring in your own sounds
– MIDI cable free
– A database of thousands of stereo quality sounds
– Switch instruments in a single click
– A powerful 16-track sequencer that lets you:
– Record in full 44.1 stereo 16 bit PCM .wav format
– Alter frequency, resonance, LFO R and A
– Scan important sounds for a single note or section of music and recreate it in all 4 octaves
– Mix the volume on individual channels
– Move sound about with a single click
– Learn to use the entire program in minutes with the video tutorials included

http://e3c39gu1hy4n4zb8ryph6e7u76.hop.clickbank.net/?tid=BEATMAKER

Dr. Drum will make anyone sound like a pro and it is affordable. When you’re ready to step into the big time, do it with Dr. Drum and be a pro without spending money like one.

spotlightHopfeedCreative.jpeg

And the beat goes on

Type of music you like most?

I literally like all types of much, with the exception electronica. That stuff drives me mad and triggers my migraines.

But yes, I love all music: hip-hop, pop, r&b, rap, jazz, classical, punk, rock, screamo, everything– even country!

I listen to different types of music depending on my mood. I keep a running list of the music I’m listening to on my Instagram, so check it out @HebavsReason

Peace and Pistachios,

Heba