Academic literature on the topic 'Alternative rock music'
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Journal articles on the topic "Alternative rock music"
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McDonald, Chris. "Exploring modal subversions in alternative music." Popular Music 19, no. 3 (October 2000): 355–63. http://dx.doi.org/10.1017/s0261143000000210.
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IntroductionThe concern of this article is with a particular set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented ‘alternative’ rock, have been using with noticeable frequency in the last ten years. I am also interested in discussing the concept of the power chord (a term I shall explicate more clearly below) as a device in rock that has facilitated the above-mentioned set of harmonic practicesThe observations made in this paper come out of a previous research inquiry of mine into the devices which alternative musicians use to differentiate their music from other styles of mainstream rock. Also, the pursuit of this topic is partly a response to Allan Moore's admonition that ‘there is as yet very little concern for theorizing analytical method in rock music’, and his call for a ‘mapping-out of those harmonic practices that serve to distinguish rock styles . . . from those of common-practice tonality . . . and jazz’ (Moore 1995, p. 185).There has been some rather pointed criticism recently of musicological analyses of popular music (see Shepherd 1993; Frith 1990) on the charge that analysing music's purely sonic dimensions (i.e. melody, harmony, rhythm, structure, etc.) does not really help us understand musical communication. Speaking as a songwriter, however, I would argue that many musicians in rock are indeed concerned with harmonic progression (or ‘the changes’, to use the vernacular term) as an important device or jumping-off point in the process of songwriting. It also seems reasonable to suggest that harmonic progression is a contributing factor in the affective power of a song, although its importance here is likely to be variable and quite open to debate.
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Zhabeva Papazova, Julijana. "Alternative Rock Music in Yugoslavia in the Period Between 1980-1991 and its Influence on the Present Musical and Cultural Life in Macedonia, Serbia and Croatia." IASPM Journal 4, no. 1 (November 17, 2013): 117–19. http://dx.doi.org/10.5429/673.
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Doctoral dissertation "Alternative rock music in Yugoslavia in the period between 1980-1991 and its influence on the present musical and cultural live in Macedonia, Serbia and Croatia" has five main chapters: Introduction; First chapter-Theoretical aspect of the dissertation; Second chapter-Alternative rock, definition, origin, development; Third chapter-Socio-cultural aspect; Fourth chapter-Music analyze; Fifth chapter-The influence of Yugoslav alternative rock into the musical and cultural live at the territories of Macedonia, Serbia and Croatia after 1991; Conclusion; Bibliography; Appendix. The first theoretical chapter present the development of the scientific research based on musical communications, music analyze, recorded music, musical scenes and methodology of work. The second chapter present the definition of alternative rock, ideology of alternative music and short history of alternative rock in the western and non-western world. The third chapter present the historical socio-cultural development of Yugoslav alternative rock throughout chronology of development, the relationship between rock music and society, politics and culture. The fourth chapter is dedicate to the music analyze of five selected Yugoslav alternative rock songs: Samo ponekad (‘Only Sometimes’) by Šarlo akrobata (‘Šarlo acrobat’) from Belgrade; Država (‘The State’) by Laibach from Trbovlje; Gradot e nem (‘The City is Mute’) by Mizar from Skopje; Nočas se Beograd pali (‘Tonight will Belgrade burn’) by Grč (‘Spasm’) from Rijeka and Vagabonds by SCH (an abbreviation for schizophrenia) from Sarajevo. The last chapter present the period after 1991 and defined the influence of Yugoslav alternative rock at the territory of ex-Yugoslavia created through the activities of bands, magazines, festivals and record labels. The influence of the Yugoslavian alternative rock from the eighties to the time after 1991 in Macedonia, Serbia and Croatia is expressed in consumption, production, exchange and network connections between music and cultural organizations, groups, organizers and journalists working in different locations.
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Saphan, LinDa. "From Modern Rock to Postmodern Hard Rock: Cambodian Alternative Music Voices." Ethnic Studies Review 35, no. 1 (January 1, 2012): 23–39. http://dx.doi.org/10.1525/esr.2012.35.1.23.
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Cambodian modernity was driven by the political agenda of the Sihanouk government beginning in the 1950s, and Cambodian rock and roll emerged in the 1960s in step with Sihanouk's ambitious national modernization project. Urban rockers were primarily upper-class male youths. In. the postcolonial era rock and roll was appropriated from abroad and given a unique Cambodian sound, while today's emerging hard rock music borrows foreign sociocultural references along with the music. Postmodern Cambodia and its diaspora have seen the evolution of a more diverse music subculture of alternative voices of hard rock bands and hip-hop artists, as well as post-bourgeois and post-male singers and songwriters.
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Belibou, Alexandra. "Proposal of an Alternative Repertoire for Classical Music Audition Through the Rock Genre." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 49–56. http://dx.doi.org/10.24193/subbmusica.2022.1.04.
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"The subject of this article aims to put in the mirror two fundamentally different musical genres. It is the stylistic difference that seems interesting, so in the following pages, I chose to analyze rock creations that quoted or processed classical music. Rock music, a genre that appeared in the second half of the twentieth century, could not escape the influence of classical music, so, as we will see throughout the paper, there are many rock pieces influenced by classical scores, works that remained in the top of the preferences of rock music listeners. Some of the rock musicians chose to quote classical fragments, others chose to process them, or to be inspired by certain elements of their composition, such as melody, harmony, and rhythm. I believe that this type of comparative analysis is helpful in the case of music education teachers who want to introduce the classical genre in the students' favorite repertoire, through the medium of rock music. Thus, the second objective of this article is to propose an alternative to traditional music auditioning. Keywords: rock, comparative analysis, rock cover, audition. "
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Westrol, Michael S., Susmith Koneru, Norah McIntyre, Andrew T. Caruso, Faizan H. Arshad, and Mark A. Merlin. "Music Genre as a Predictor of Resource Utilization at Outdoor Music Concerts." Prehospital and Disaster Medicine 32, no. 3 (February 20, 2017): 289–96. http://dx.doi.org/10.1017/s1049023x17000085.
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AbstractObjectivesThe aim of this study was to examine the various modern music genres and their effect on the utilization of medical resources with analysis and adjustment for potential confounders.MethodsA retrospective review of patient logs from an open-air, contemporary amphitheater over a period of 10 years was performed. Variables recorded by the medical personnel for each concert included the attendance, description of the weather, and a patient log in which nature and outcome were recorded. The primary outcomes were associations of genres with the medical usage rate (MUR). Secondary outcomes investigated were the association of confounders and the influences on the level of care provided, the transport rate, and the nature of medical complaint.ResultsA total of 2,399,864 concert attendees, of which 4,546 patients presented to venue Emergency Medical Services (EMS) during 403 concerts with an average of 11.4 patients (annual range 7.1-17.4) each concert. Of potential confounders, only the heat index ≥90°F (32.2°C) and whether the event was a festival were significant (P=.027 and .001, respectively). After adjustment, the genres with significantly increased MUR in decreasing order were: alternative rock, hip-hop/rap, modern rock, heavy metal/hard rock, and country music (P<.05). Medical complaints were significantly increased with alternative rock or when the heat index was ≥90°F (32.2°C; P<.001). Traumatic injuries were most significantly increased with alternative rock (P<.001). Alcohol or drug intoxication was significantly more common in hip-hop/rap (P<.001). Transport rates were highest with alcohol/drug intoxicated patients (P<.001), lowest with traumatic injuries (P=.004), and negatively affected by heat index ≥90°F (32.2°C; P=.008), alternative rock (P=.017), and country music (P=.033).ConclusionAlternative rock, hip-hop/rap, modern rock, heavy metal/hard rock, and country music concerts had higher levels of medical resource utilization. High heat indices and music festivals also increase the MUR. This information can assist event planners with preparation and resource utilization. Future research should focus on prospective validation of the regression equation.Westrol MS, KoneruS, McIntyreN, Caruso AT, ArshadFH, MerlinMA. Music genre as a predictor of resource utilization at outdoor music concerts. Prehosp Disaster Med. 2017;32(3):289–296.
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Fikarová, Lucie. "“Euphoria, Anarchy, Sobering Up”: The 1990s in the Memories of Alternative Czech Rock Musicians (and other Members of the Alternative Czech Rock Music Scene)." Wrocławski Rocznik Historii Mówionej 12 (December 22, 2022): 142–62. http://dx.doi.org/10.26774/wrhm.330.
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This article focuses on how the members of the alternative Czech rock music scene experienced the 1990s. It is based on oral history interviews with rock musicians as well as with music club managers, concert promoters, a music manager, and a publicist. The aim of the article is to out line the possible narratives of these actors about the era of the 1990s and map whether these narratives remain the same for the entire decade.
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ATTON, CHRIS. "Writing about listening: alternative discourses in rock journalism." Popular Music 28, no. 1 (January 2009): 53–67. http://dx.doi.org/10.1017/s026114300800158x.
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Abstract‘Alternative’ publications challenge the conventional discourses of rock journalism. In particular, the dominant discourses of authenticity, masculinity and mythology might be countered by publications that emphasise historical and (sub)cultural framing, and that present radicalised ‘spaces of listening’. Using Bourdieu’s field theory to identify autonomous and semi-autonomous sites for rock criticism, the paper compares how a fanzine (the Sound Projector) and what Frith has termed an ideological magazine (the Wire) construct their reviews. The findings suggest that, whilst there is no evidence for an absolute break with the dominant conventions of reviewing, there is a remarkable polyglottism in alternative music reviewing. The paper emphasises differing cultural and social practices in the multiple ways the publications write about music, and argues for the value of such polyglottism.
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Guerra, Paula. "Keep it rocking: The social space of Portuguese alternative rock (1980–2010)." Journal of Sociology 52, no. 4 (July 10, 2016): 615–30. http://dx.doi.org/10.1177/1440783315569557.
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The main goal of our approach is to analyse the social representations of alternative rock in Portugal (or, using a terminology more akin to 1980s Portugal, of the “modern music vanguard”) from 1980 to 2010. This is part of broader research into the 30 years of modernization of the country (from the post-revolutionary period initiated in 1974 on), in which alternative rock is regarded as a significant social practice within the scope of the social, artistic and musical structuring of the country itself. We consider that alternative rock is a subject that is illuminated by Bourdieu’s theory of fields, without overlooking its clear interconnection with ‘art worlds’ or music scenes, and the aesthetic cosmopolitanism of late modernity. The article is a pioneering work on the Portuguese sociology of culture, whose results may be the starting point of a debate to problematize the functional logic of popular music in various Anglo-Saxon settings.
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Nobile, Drew. "Double-Tonic Complexes in Rock Music." Music Theory Spectrum 42, no. 2 (2020): 207–26. http://dx.doi.org/10.1093/mts/mtaa003.
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Abstract Most analysts consider a song either to be in a single key or to exhibit competition or ambiguity among multiple possible keys. This article proposes an alternative in which two keys combine to create a coherent, stable tonality. I adapt Robert Bailey’s concept of the “double-tonic complex” to demonstrate that in many rock songs, relative major and minor keys coexist with neither superior to the other and no conflict between them. These songs are not quite in two keys at once, but rather each component key represents a different incarnation of a single, more abstract tonality encompassing them both. The prolonged generative tonic of such a structure is a four-note sonority built from the union of the two tonic triads; this sonority often—but not always—appears as a surface chord at structurally important moments.
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Jeziński, Marek. "Obrazy miasta w utworach polskich grup alternatywnych lat 80. XX wieku." Kultura Popularna 3, no. 53 (February 26, 2018): 81–90. http://dx.doi.org/10.5604/01.3001.0010.8269.
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In the paper I analyse the ways in which a city, urbanism, city space and people living in urban environment are portrayed in Polish popular music, especially in the songs of Polish alternative bands of the 80. inthe 20th century. In popular music, the city is pictured in several ways, among which the most important is the use of words as song lyrics that illustrate urban way of life. The city should be treated as an immanent part of the rock music mythology present in the songs and in the names of bands. In the case of Polish alternative rock music of the 80.such elements are found in songs of such artists as Lech Janerka, Variete, Siekiera, Dezerter, Deuter, AyaRL. The visions of urbanism taken from their songs are the exemplifications used in the paper.
Dissertations / Theses on the topic "Alternative rock music"
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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 to "shred" the guitar—seemed sexist, arrogant, and apathetic. To oppose heavy metal's hierarchy, alternative rockers fashioned a contrastive aesthetic style in order to signify their democratic values. For Nirvana, doing so meant "killing" the guitar god by creating compelling hard rock without shred and satirizing the guitar god's "glam" appearance, thus rendering them impotent. Although alternative rock was generally suspicious of virtuosic display, several virtuosos took part in the genre including bassist Les Claypool of Primus, electric guitarist Tom Morello of Rage Against the Machine, and acoustic guitarist Ani DiFranco. These alternative musicians share many characteristics with virtuosos of other genres. Yet, that which most distinguishes alternative virtuosos from other kinds is the "loser" persona types they embody. Furthermore, unlike guitar gods, alternative virtuosos were understood to put their virtuosity in the service of something greater than themselves: alternative politics. Taking a dialogical approach involving a cultural semiotic analysis of various sonic, visual, and verbal styles that construct virtuosity and its meaning within the context of the alternative genre, this study demonstrates how alternative virtuosos fashioned virtuosic styles that could express alternative values.Après la parution de l'album Nevermind du groupe Nirvana en 1991, le rock alternatif auparavant “underground” a émergé sur la scène musicale traditionnelle, détrônant le heavy metal en tant que forme dominante du hard rock. La culture entourant la musique alternative se voulait un mouvement post-punk progressiste américain, qui recherchait un monde plus égalitaire, tolérant et démocratique que celui offert par le heavy metal. La culture alternative a perçu le style heavy metal comme le symbole des valeurs masculinistes qui semblaient sous-tendre le genre. Les dieux de la guitare heavy-metal—des figures virtuoses hyper-masculines adulées par les fans pour leur personnalité "décontractée" et leur abilité à faire du shred avec leur guitare—semblaient sexistes, arrogants et apathiques. Afin de s'opposer à la hiérarchie du heavy-metal, les rockeurs alternatifs ont développé leur propre style esthétique afin de démontrer leurs valeurs démocratiques. Pour Nirvana, ceci signifiait "tuer" les dieux de la guitare en créant un hard-rock irrésistible sans shred et en satirisant l'apparence "glamour" des dieux de la guitare, les rendant ainsi impotents. Les dieux de la guitare heavy-metal—des figures virtuoses hyper-masculines adulées par les fans pour leur personnalité "décontractée" et leur abilité à faire du shred avec leur guitare – semblaient sexistes, arrogants et apathiques. Afin de s'opposer à la hiérarchie du heavy-metal, les rockeurs alternatifs ont développé leur propre style esthétique afin de démontrer leurs valeurs démocratiques. Pour Nirvana, ceci signifiait "tuer" les dieux de la guitare en créant un hard-rock irrésistible sans shred et en satirisant l'apparence "glamour" des dieux de la guitare, les rendant ainsi impotents. Bien que le rock alternatif demeure généralement méfiant envers les démonstrations de virtuosité, plusieurs virtuoses ont pris part à ce genre musical, incluant le bassiste Les Claypool du groupe Primus, le guitariste électrique Tom Morello de Rage Against the Machine, et la guitariste acoustique Ani DiFranco. Ces musiciens alternatifs partagent plusieurs caractéristiques avec les virtuoses issus d'autres genres musicaux. Pourtant, ce qui distingue le plus ces virtuoses alternatifs d'autres catégories de virtuoses est la personnalité de "perdant" qu'ils incarnent. De plus, contrairement aux dieux de la guitare, il était établi que les virtuoses alternatifs mettaient leur virtuosité au service de quelque chose de plus grand qu'eux-même: la politique alternative. Empruntant une approche dialogique se fondant sur une analyse sémiotique culturelle de plusieurs styles soniques, visuels et verbaux construisant la virtuosité et son sens dans le contexte du genre alternatif, cette étude démontre que les musiciens alternatifs ont façonné des styles virtuoses de manière à exprimer des valeurs alternatives.
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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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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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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 Zealand's alternative music history are then assessed for the period 1981-2001, with especial reference to the Flying Nun label and 'Dunedin Sound'.
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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 music, and to suggest how to bring about a better and more sustainable development for these kinds of “independent” and grassroots organizations. In response to these research aims, a case study was conducted of four local indie labels: 89268, Redline Music, Harbour Records and Music is Free Foundation (M.I.F.F.), by applying a marketing mix of the 4 “P”s—promotion, place, price and product—in order to investigate the business practices of these indie labels and to present a more comprehensive picture of Hong Kong indie music. Although indie music has become no longer purely “indie/independent”, it is also believed that the core values of indie music are being repackaged. Moreover, an interdependent relationship between indie music and commerce and/or the mainstream has been created. This interdependence is not necessarily leading to the end of indie, but has the potential to create more opportunities and spaces for the development of indie music.
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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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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 and social resources that afford their participation in it. The main focus of this research is to understand these social, cultural and economic conditions of possibility of the scene that explain why it exists in its current form. Questions about the usefulness and limitations of theoretical frameworks based on alternative rock related youth cultures will be assessed by the empirical study of this local alternative music scene. These theoretical models, largely developed in Western Anglophone countries, explain distinctive configurations of symbolic, social and economic elements through which a particular scene is mobilized. Are these Western theoretical models enough to explain this local alternative music scene, or are local contextual factors of paramount importance? This is one of the notions that are explored in detail in this thesis. In the locale of post-colonial Bangladesh, the actors involved express their sentiments towards local situations with the resources available to them through the motivations of ‘local factors’ which accentuate a rather unique discourse of an alternative music scene. Studies of appropriation, impact and function of metal genres in other Asian countries like China, Japan, Nepal, Indonesia, Malaysia and Singapore have been done before, but never in Bangladesh, where there is an overall lacking of music related scholarly work in English. Based upon interviews with key figures of the scene, ethnographic observation and textual analysis, this research suggests that the urban youth’s frustration towards the poor situation of the country is channeled into desires to develop an alternative liberal space of artistic autonomy through the exploration of foreign music styles and the fantasy worlds of metal. While participants assert aesthetic distinction of their music from mainstream rock, one of the main findings shows that they are not concerned about ideas of selling out to the corporate music industry if they become popular without sacrificing aesthetic integrity. Emphasis is placed on translocal connections with other alternative music scenes elsewhere. The empirical findings from this thesis raises questions about the extent to which this local scene represents Western discourses of alternative rock and whether its transnationalism is properly explained through hybridization of international cultural forms.
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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 extreme eastern tip of a large island off the east coast of North America, provide a unique backdrop against which to foreground a discussion of the distance between indie/punk rhetoric and reality. I contend that 'scene' in popular and academic use refers to the casual aggregation occasioned by similar interest and shared location, while 'community' hints at effort, co-operation and productive support.
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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, community, anti-establishment ideals and, to paraphrase Bannister (2006: xxvi) ‘technological dystopianism’ – it is perhaps not surprising that some successors of punk and hardcore, particularly in the U.S., would turn to folk after the commercialisation of grunge in the early 1990s. But beyond this, a historical survey of the roots of new folk leads us to the conclusion that the desire for spontaneity rather than perfection, for recorded artefacts which affirm music as a participatory process rather than a product to be consumed, is at least as old as recording technology itself. The ‘new folk’ of the last two decades often mythologises a pre-industrial past, even as it draws upon comparatively recent oppositional approaches to the recording as artefact that range from those of Bob Dylan to obscure outsider artists and lo-fi indie rockers. This study offers a survey of new folk which is overdue – to date, new folk has been virtually ignored by the academic literature. It considers the tangled lineages that inform this indie genre, in the process suggesting new aspects of the history of rock music which stretch all the way back to Depression-era recordings in the shape of Harry Smith’s Anthology of American Folk Music. At the same time, it attempts to steer a middle course between cultural studies approaches to popular music which at times fail to directly address music at all, and musicological approaches which are at times in danger of abstracting minutae until the broader frame is completely lost. By concentrating on three aspects of the recordings in question - vocal approach, a broad consideration of sound (inclusive of production values and timbre), and structure as it pertains to both individual pieces and albums – this work hopes to offer a fresh way of reading popular music texts which deals specifically with the music without losing sight of its broader function and context.
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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.
Full textBooks on the topic "Alternative rock music"
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Farseth, Erik. Rock 'n roll/alternative. Minneapolis: Twenty-First Century Books, 2013.
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Lechner, Ernesto. Rock en Español: The Latin alternative rock explosion. Chicago, Ill: Chicago Review Press, 2005.
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Lechner, Ernesto. Rock en Español: The Latin alternative rock explosion. Chicago, Ill: Chicago Review Press, 2006.
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Fall Out Boy (Musical group). Save rock and roll. Milwaukee, WI: Hal Leonard, 2013.
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Strong, M. C. The great alternative & indie discography. Edinburgh: Canongate, 1999.
Find full textBook chapters on the topic "Alternative rock music"
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Lasagni, Giulia. "On the Persistence of Alternative Rock Bands." In The Ontology of Music Groups, 95–123. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003454151-6.
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Shonk, Kenneth L., and Daniel Robert McClure. "Hiraeth: The Celtic Moment in 1980s Alternative Rock." In Historical Theory and Methods through Popular Music, 1970–2000, 199–225. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-57072-7_8.
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Shonk, Kenneth L., and Daniel Robert McClure. "“Feels Blind”: Counter-Hegemony in Alternative Rock During the Reagan/Thatcher Era." In Historical Theory and Methods through Popular Music, 1970–2000, 227–58. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-57072-7_9.
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"New Underground Scenes and the Rise of Alternative Music." In Punk Rock, 117–63. SUNY Press, 2022. http://dx.doi.org/10.1515/9781438489391-007.
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Cateforis, Theo. "Alternative before Alternative: The Pre-Punk History of a ’90s Rock Genre." In Media Narratives in Popular Music. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781501357305.ch-6.
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"The Rock Counterculture from Modernist Utopianism to the Development of an Alternative Music Scene." In Countercultures and Popular Music, 101–14. Routledge, 2016. http://dx.doi.org/10.4324/9781315574479-12.
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Henderson, Margaret. "A Portrait of the Artist as a Punk." In Women in Rock Memoirs, 106—C6P71. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197659328.003.0007.
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Abstract This essay explores authenticity in/and the rock music autobiography by analyzing punk/new wave singer Debbie Harry’s memoir Face It (2019). The chapter aims to see if there is a homology between punk’s version of authenticity and the authenticity encoded (or not) in her autobiography. Considering that this is a woman musician’s autobiography emphasizes the salience and the complexity of the nexus between music, text, and authenticity. A textual analysis of Harry’s punk memoirs allows one to trace the ways in which a white American woman renegotiates gender identity, the music industry, and punk authenticity in the closing decades of the twentieth century, with Harry’s locus in New York punk culture and its “authentic inauthenticity” meaning alternative sources of authenticity. Harry delineates the potential of punk culture for women at that time, as she profits from and transcends her self-appointed persona to become a serious cultural worker.
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Margolies, Daniel S. "Reimagined Old-Time Music Cultures in the Trainhopping Punk Rock South." In Bohemian South. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469631677.003.0013.
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This chapter presents the first consideration of a little known network of radical musicians which has coalesced in the last decade into a vibrant new subculture within the broader (but still obscure) “old time music” scene. Since the late 1990s, old time music has been adopted and repurposed via the language of liberation and autonomy with great seriousness and complete novelty by a fluid group of alternative minded DIY anarcho-punks, many of whom are originally from outside of the region. These young musicians have relocated from around the country to the contemporary South in search of deeply authentic old time forms of music, life, and economy standing in opposition to dominant capitalist consumer culture. These “trainhoppers” search for community and authenticity among alternative-minded people and construct a unique old time musical ecology embedded within related pursuits like radical environmental politics, squatting, off-the-grid homesteading, alternative fuel production, and other aspects of the radical quest for hand-crafted experience conceived of as oppositional to dominant, contemporary American consumer culture.
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ñoz, Elias Miguel Mu. "A Brand New Memory." In Noche Buena, 279–85. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195135275.003.0037.
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Abstract This holiday season the Princess is in the mood for sounds. She’ll be listening to rock, hip-hop, Latino pop, and salsa. Yeah, she wants all kinds of music, the whole spectrum. That’s the advantage of being a Nineties-kind-of-person, you have a lot to choose from: Sixties rock classics, Seventies pop oldies, Eighties New Wave, Nineties New Age and Alternative Rock. And then there’s all that excellent Rockero stuff, bands from Mexico, Spain, Argentina. Cool. And also fab movie soundtracks. And what about rap? She loves some rap mixes! Too bad she has to play that music low; her parents hate it.
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Dunne, Terence M. "The Law of Captain Rock." In Crime, Violence and the Irish in the Nineteenth Century. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940650.003.0003.
Full textAbstract:
This chapter examines the threatening letter as a form of potential brutal social control and a manifestation of alternative law, or ‘legal parallelism', during the Rockite disturbances of the 1820s. The author focuses on 135 instances of these threatening letters and notices gathered in Dublin Castle during investigations to paint a picture of charivari Irelandaise, rough music, or community justice of sorts. The chapter reads these protest and threats through the prisms of Mikhail Bakhtin and Antoni Gramsci, with authority challenged, but not threatened; with the dissolving of legal protection of customary rights being questioned, but not the law itself.