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Relevant bibliographies by topics / Alternative rock music

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Dissertations / Theses

Academic literature on the topic 'Alternative rock music'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Dissertations / Theses on the topic "Alternative rock music"

1

Tuttle, Brian. "Who killed rock guitar? Virtuosity in nineteen-nineties alternative rock." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121303.

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After the release of Nirvana's Nevermind in 1991, previously underground alternative rock burst into the mainstream and dethroned heavy metal as the dominant form of hard rock. The culture that surrounded alternative music was a politically progressive American post-punk movement that sought a more egalitarian, tolerant, and democratic world than heavy metal offered. Alternative culture saw heavy-metal style as a symbol for the masculinist values that seem to underlie the genre. Heavy-metal guitar gods—hyper-masculine virtuosic figures revered by fans for their "cool kid" personas and ability

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2

Hills, Robert Allen. "A comparison of the harmful effects of secular rock music to the Christian alternative." Theological Research Exchange Network (TREN) Access this title online, 1985. http://dx.doi.org/10.2986/tren.031-0082.

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3

Moon, Joshua D. "Progress, Restoration, and the Life of Rock After Alternative." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1426865642.

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4

Churton, Wade Ronald. "Alternative music in New Zealand,1981-2001 definitions, comparisons and history." Thesis, University of Canterbury. History, 2003. http://hdl.handle.net/10092/1030.

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Alternative music was a cultural practice, which became a significant feature of New Zealand's local and national history over the last two decades of the twentieth century. Features of technology, economics and music culture influenced the creation and course of local independent music scenes, along with factors such as cultural remoteness. This thesis isolates and collates key factors and time periods of international music industry history, and refracts the information through alternative music in general, providing a coherent definition of the term. The history and definitions of New Zeala

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5

Leung, Pui Yee. "Selling out the indie music?: re-examining the independence of Hong Kong indie music in the early 21st century." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/114.

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The rebellious spirit generated by the 1970s punk movement in the UK and the US influenced many local Hong Kong indie bands. However, in the early part of the 21st century, local indie music has created different kinds of relationship with the mainstream and commercial fields, which seem to have the potential to destroy the original meaning of indie music. The aims of this research were therefore to re-examine the independence of indie music in the early 21st century; to understand the role played by indie music and artists within the local music scene; to describe the “authenticity” of indie

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6

Seman, Michael Lyons Donald I. "More buildings about songs and food a case study of Omaha's slowdown project /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3917.

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7

Quader, Shams Bin. "Headbanging in Dhaka: An exploration of the Bangladeshi Alternative Music Scene." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10178.

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This thesis is about understanding the birth, development and maintenance of a subcultural alternative music scene located in the unique urban socio-historic milieu of the postcolonial developing country of Bangladesh. Locally dubbed the underground, this cultural phenomenon is a youth based male dominated, non-commercial and non-professional music scene, based on international genres of metal as well as other foreign alternative music genres. This alternative music scene revolves around the activities of largely middle-class, part-time, male musicians who share particular economic, cultural a

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8

Guy, Stephen. "The nature of community in the Newfoundland rock underground /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81493.

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Twenty-five years of independent, underground, or punk rock music-making in St. John's, Newfoundland, have been defined by geographic isolation. In tracing a historical record of the small city's punk/indie scene, this project seeks to evaluate recent academic discussion surrounding the role of collectivity in artistic 'independence' and examine the impact of prevailing international aesthetics and changing communication technologies on local practice. The self-containment and self-sufficiency of the St. John's music community, largely the product of the city's isolated position on the

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9

Encarnacao, John. "Punk aesthetics in independent "new folk", 1990-2008." Electronic version, 2009. http://hdl.handle.net/2100/981.

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Various commentators on punk (e.g. Laing 1985, Frith 1986, Goshert 2000, Reynolds 2005, Webb 2007) have remarked upon an essence or attitude which is much more central to it than any aspects of musical style. Through the analysis of specific recordings as texts, this study aims to deliver on this idea by suggesting that there is an entire generation of musicians working in the independent sphere creating music that combines resonances of folk music with demonstrable punk aesthetics. Given that the cultural formations of folk and punk share many rhetorics of authenticity – inclusivity, communit

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10

Faulhaber, Edwin F. "Communicator between worlds Björk reaches beyond the binaries /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1219186474.

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