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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.
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Thompson, Pamela J. "Rock and roll and the counterculture : the search for alternative values and a new spirituality." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59237.
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Both the counterculture and its music will be examined using the concepts of heteronomy, autonomy, and theonomy and their dialectical relationship according to Paul Tillich's theory of religion and culture. The main themes beneath the emergence of the counterculture will be outlined, and the ways in which the dominant culture of the time may be considered what Tillich describes as a heteronomous phenomenon will be presented. The historical significance of the counterculture will then be demonstrated in terms of Tillich's concept of kairos. Through examination of the lyrics of some of the most popular songs between 1965 and 1970, the years during which the movement was at its height, the ways in which the counterculture may be seen as autonomous protest will be discussed. This will be followed by an examination of theonomous elements apparent in the song lyrics and an evaluation of the movement in terms of the Tillichian dialectic.
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Ball, Rebecca Elizabeth. "Portland's Independent Music Scene: The Formation of Community Identities and Alternative Urban Cultural Landscapes." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/126.
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Portland has a rich, active, and fluid music culture which is constantly being (re)created and (re)defined by a loose network of local musicians who write, record, produce, promote, distribute, and perform their music locally (and sometimes regionally, nationally, and internationally) and local residents, or audiences, who engage in local musical practices. Independent ("indie") local music making in Portland, which is embedded in DIY (do it yourself) values, creates alternative cultural places and landscapes in the city and is one medium through which some people represent themselves in the community. These residents not only perform, consume, promote, and distribute local music, they also (re)create places to host musical expressions. They have built alternative and democratic cultural landscapes, or culturescapes, in the city. Involved Portlanders strive to make live music performances accessible and affordable to all people, demonstrating through musical practices that the city is a shared space and represents a diversity of people, thoughts, values, and cultural preferences. Using theoretical tools from critical research about the economic, spatial, and social role of cultures in cities, particularly music, and ethnographic research of the Portland music scene, including participant observations and in-depth interviews with Portland musicians and other involved residents, this research takes a critical approach to examining ways in which manifestations of independent music are democratic cultural experiences that influence the city's cultural identity and are a medium through which a loosely defined group of Portlanders represent their cultural values and right to the city. In particular, it focuses on how local musical practices, especially live performances, (re)create alternative spaces within the city for musical expressions and influence the city's cultural landscapes, as well as differences between DIY independent music in Portland and its commodified forms and musicians and products produced by global music industry.
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Seman, Michael. "More buildings about songs and food: A case study of Omaha's Slowdown project." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3917/.
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The success of independent rock music ("indie rock"), once a marginalized sub-genre of the rock idiom and now a globally recognized cultural force, has impacted the urban landscape of Omaha, Nebraska via the mixed-use urban redevelopment project, "Slowdown" - a result of cultural production by the city's successful indie rock business entities. While geographic research has previously analyzed urban redevelopment initiated by fine artists, the event of indie rock music being a catalyst for urban redevelopment has never been considered in a geographic scope. By examining the topics of affordable technological tools, Omaha's reduced cost-of-living, and cooperative efforts by city leaders, insight into how an indie rock "scene" can become a successful urban redevelopment catalyst is gained.
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Bozelka, Kevin John. ""Getting beyond" : SPIN magazine in the late 1980s." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82688.
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The Eighties were a time in Western popular music that seemed to exist only by virtue of it coming after something else---namely, the 1960s counterculture and the punk rock of the 1970s. Inheriting both the failure of permanent cultural revolution and the intense cynicism that is punk's strongest legacy, youth cultures in the 1980s found it increasingly difficult to live in the present. This thesis labels this historical dilemma postmodern. It will show how SPIN magazine attempted to move past this dilemma in order to assert a unique identity for 1980s popular music and youth cultures. In particular, John Leland, a columnist for SPIN, appropriated a pop aesthetic as an identity marker and, in the process, questioned the supposed ineffectiveness of pop music for a political postmodernism. An analysis of Leland's writing uncovers what accounts of this era tend to ignore: the social function of postmodernism.
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Kearney, Meghan Andrea. "Every Town Is All the Same When You've Left Your Heart in the Portland Rain: Representations of Portland Place and Local Identity in Portland Popular Lyrics." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1489.
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This study looks at how place and local identity of Portland are described within music lyrics from Portland, Oregon popular indie-rock artists. Employing a constant comparative analysis on a set of 1,201 songs from 21 different popular Portland indie-rock artists, the themes of landscapes and climate were found to represent place, and themes of lifestyles and attitudes represented local identity. Reviewing the uncovered themes showed a strong connection between representations of place and local identity within lyrics and common stereotypes or understandings of the city of Portland and its indie-rock music scene. The results of this study illustrate how place and local identity are communicated through popular but locally-tied music lyrics and how these lyrics may describe cities.
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Rocha, Pedro Henrique Bernardi. "O rock alternativo em Goiânia e processos identitários." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6931.
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This work had as its objective the investigation of processes of style and performance in the most current alternative rock from Goiânia (the last five years) from a case study related to the music of three selected bands from the city, considering their aesthetic choices, artistic positioning and, after all, their practices, aiming for processes of identity implicated with this musical genre in the city. The methodological trajectory which made possible to reach the predicted goal, seeking methods and theories that privileged the symbolic, which gives support to the representational, consisted of analysis and interpretation of music scores, transcriptions and musical performances, always related to analysis and interpretation also from CDs, DVDs, the observation of photographies and live shows, lyrics, data collected in the study of the social, historical and cultural scenarios in focus and through oral reports collected in interviews granted by the social actors implicated with the object of study. Through those processes it was possible to verify the evidence of an alternative rock from Goiânia, more specifically related to the stoner rock variation, showing voluminous sound density, very close stylistically to American/English rock, ideologically distanced form national variations in its relation with the cultural industry and with the cultivation of elements from the national and local culture. By interacting with a traditional scenario from Goiânia, implicated as well with representational disputes between tradition and modernity, the alternative rock from the city has showed meaningful traces of a positioning of resistance before the hegemony of representations related to country music, to the relation of this music with residues from the past oligarchical culture from Goiás and with the most radical mechanisms of the cultural industry. It has revealed processes of identity, therefore, one of the vectors of an identity of Goiânia in constant construction.
Este trabalho teve como objetivo investigar os processos estilísticos e performáticos do rock alternativo de Goiânia na atualidade (últimos cinco anos), a partir do estudo de caso relacionado à música de três bandas goianienses selecionadas, considerando suas escolhas estéticas, posicionamentos artísticos e, afinal, suas práticas, visando processos identitários implicados com esse gênero musical na cidade. A trajetória metodológica que possibilitou atingir o objetivo previsto, buscando métodos e teorias que privilegiaram o simbólico que dá suporte ao representacional, se consistiu em análise e interpretação de partituras, transcrições e performances musicais, sempre relacionadas à análise e interpretação realizadas também a partir de Cds, DVDs, observação de fotografias e de apresentações ao vivo, letras de canções, dados colhidos no estudo dos cenários sócio-histórico e culturais em questão e através dos relatos de entrevistas concedidas pelos atores sociais implicados com o objeto de estudo. Através desses processos, foi possível constatar a evidência de um rock alternativo goianiense, mais especificamente ligado à vertente do stoner rock, exibindo densidade sonora volumosa, muito próximo estilisticamente do rock americano/inglês, distanciado ideologicamente de vertentes nacionais em sua relação com a indústria cultural e com o cultivo de elementos da cultura nacional e regional. Ao interagir com um cenário tradicional goianiense implicado também com a luta de representações entre tradição e modernidade, o rock alternativo da cidade mostrou traços significativos de um posicionamento de resistência perante a hegemonia das representações ligadas à musica sertaneja, à relação dessa musica com resíduos da cultura das oligarquias do passado goiano e com os mecanismos mais radicais da indústria cultural. Revelou processos identitários, portanto, um dos vetores de uma identidade goianiense sempre em construção.
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Kemp, Kenia. "Grupos de estilo jovens : o Rock Underground e as praticas (contra) culturais dos grupos punk e thrash em São Paulo." [s.n.], 1993. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279976.
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Orientador : Ana Maria de NiemeyerDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Mestre em Antropologia Social
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"Hong Kong indie music in mediations: a study of cultural prosumer." 2005. http://library.cuhk.edu.hk/record=b5892372.
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Fung Chui Bik.Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.
Includes bibliographical references (leaves 1-7 (3rd gp.)).
Abstracts in English and Chinese.
Introduction --- p.1
Chapter Chapter One: --- Literature Review --- p.5
Chapter Chapter Two: --- Methodology --- p.23
Chapter Chapter Three: --- Historical Background
Chapter 3.1 --- The emerging of Indie music in Hong Kong --- p.26
Chapter 3.2 --- New wave of DIY --- p.31
Chapter Chapter Four: --- The Mediations & Active Prosumers --- p.38
Chapter 4.1 --- The Mediations of Producers-consumers --- p.40
Chapter 4.2 --- The Mediations of Professional-consumers --- p.52
Chapter 4.3 --- The Mediations of Media workers --- p.62
Chapter Chapter Five: --- Different Modes of Indie Prosuming --- p.70
Chapter 5.1 --- Disciple --- p.73
Chapter 5.2 --- Practitioner --- p.77
Chapter 5.3 --- Critical Prosumer --- p.83
Chapter Chapter Six: --- Conclusion一 A New Indie Culture --- p.86
References and Bibliography
"Appendix I，II，III, IV"
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Muzzatti, Stephen L. "Post-industrial gothic punk 'n' roll on route 666 labeling theory, moral crusades and Marilyn Manson's Dead to the World tour /." 2000. http://wwwlib.umi.com/cr/yorku/fullcit?pNQ67936.
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Thesis (Ph. D.)--York University, 2000. Graduate Programme in Sociology.Typescript. Includes bibliographical references (leaves 379-409). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ67936.
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De, Silva Dayaneetha. "Taking on the big boys : rock music and oppositionality in Singapore." Thesis, 1996. http://hdl.handle.net/1885/144345.
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Fisher, David R. Brewer Charles E. "My Bloody Valentine's "Loveless"." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-04102006-103749/.
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Thesis (M.M.) Florida State University, 2006.Advisor: Charles E. Brewer, Florida State University, College of Music. Title and description from dissertation home page (viewed 2006). Document formatted into pages; contains 69 pages. Includes biographical sketch. Includes bibliographical references.
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Rouleau, Jonathan. "Brooklyn, capitale du rock indépendant : médiations, réseaux et le train « L »." Thèse, 2012. http://hdl.handle.net/1866/6888.
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Brooklyn est depuis quelques années un épicentre de la musique indépendante aux États-Unis. En utilisant la démarche ethnographique, l’auteur s’intéresse au rôle des médiateurs dans la définition du réseau socio-musical de la scène « indie » de Brooklyn à New York. Il met en relief la façon dont historiquement, le quartier brooklynois de Williamsburg est devenu un lieu important d’établissement des Brooklyn est depuis quelques années un épicentre de la musique indépendante aux États-Unis. En utilisant la démarche ethnographique, l’auteur s’intéresse au rôle des
médiateurs dans la définition du réseau socio-musical de la scène « indie » de Brooklyn à New York. Il met en relief la façon dont historiquement, le quartier brooklynois de Williamsburg est devenu un lieu important d’établissement des musiciens alternatifs. Il aborde la façon dont les hipsters, comme communauté, font appel à différentes pratiques pour contourner le rapport d’infériorité avec les
étiquettes majors. Il s’intéresse aussi au « do it yourself » ainsi qu’au rôle de New York dans le milieu musical mondial. Finalement, il s’intéresse aux médias qui
définissent et structurent le milieu de la musique indépendante de Brooklyn.Over recent years, Brooklyn has become a global epicenter for the production of alternative popular music known as « indie music ». Using ethnographic methods, this thesis examines the role of mediators in the definition of the socio-musical network of the Brooklyn’s indie music scene in New York. It emphasizes the way in which, historically, Williamsburg has come to be an important neighboorhood for musicians and how hipsters, as a community, use different practices in order to manage a hegemonic relationship with the majors. At the center of this analysis is a discussion of the « do it yourself » ethic and the place of New York in the world, musically speaking. Finally, the way some medias define and structure the musical field is also of a part of the analysis.
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Bambas, Ondřej. "Mediální zobrazení hudební skupiny Psí vojáci mezi lety 1979-2013." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-358012.
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Thesis "Media coverage of band Dog Soldiers (Psí vojáci) between years 1979 and 2013" shows the change of cultural environment as well as the differences between the normalization press and the magazines after 1989. Diversity of media system describes work primarily through oral history research based on testimonies of direct history participants and people associated with the group Dog Soldiers and alternative music scene. Band was situated between underground and alternative culture, so its position cannot be easily set. As it cannot find any similar interpret of the same genre. The unique position made Dog Soldiers an alternative music scene's symbol of post-Communist period. The descriptive and comparative perspective also serves to fulfill the set goals, which makes it possible to compare the functionality of official and samizdat or exile periodicals at the time of normalization and nationwide newspapers and music magazines in later more active period of the group. The work also shows the differences between the processing of individual musical environments of Czech culture by specialized literature.
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Razím, Tomáš. "Vystupování neprofesionálních rockových kapel v Praze v letech 1973-1984." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-354002.
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This thesis deals with the issue of public appearances of amateur rock bands in Prague after the introduction of the so-called "requlifications" which basically destroyed professional rock music in Czechoslovakia. This affected especially the capital city which had witnessed an unprecedented rise of this genre only several years earlier. Thereafter, independent rock music could be practiced only as a hobby, and even the amateur musicians had to face extensive regulations and general mistrust. As a result, opportunities to appear in public were very sparse because organizers were worried about the consequences of such events. The research investigates the mechanisms and conditions for durable opportunities to play publicly in Prague before 1984. The effects of the article Nová vlna se starým obsahem - the pinnacle of the media and social campaign against new forms of rock music, were already becoming apparent in that year and the Union of musicians and its sections - main pillars of independent culture in Czechoslovakia - were dissolved. The conclusion is that in such difficult circumstances persistence, creativity and readiness to lose one's job proved crucial qualities. They enabled people to overcome not only the regulations but mainly the concerns about sanctions for nonconformist appearance and...
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Sherstiuk, Mariia. "Lingvo-kulturní prostor ukrajinské alternativní hudby (hudba nezávislé Ukrajiny)." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-342000.
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This thesis is focused mainly on the portrayal of the alternative music in Ukraine, depicting it not only as a fundamental component of the world cultures, just as equal to other influences, as well as identifying its importance as a playing a truly vital part in forming a social conscience of the Ukrainian people. The following set of goal introduces the forecasted solutions of the aforementioned tasks: to introduce general tendencies leading up to the foundation as well as the development of the Ukrainian alternative music as an integral part of the culture of Ukraine; to analyze the lyrics and texts of the rock musicians and their influence on the national language development in Ukraine; to further identify bilingual tendencies, as well as "surzhik" as examples of language developmental movements in the studied texts. The theory section of this thesis aims to describe worldwide cultural tendencies which preceeded the establishment of the Ukrainian alternative music and has shaped its foundations. In addition, it also comprises the analysis of the alternative genre and its functions in relation to the current Ukrainian culture and its roots. The practical part then undertakes to review and underline language unique features and unusual structures along with other ethnical and cultural forms of...
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Munier, Maxime Franck Sylvain. "Grunge, genre et style : analyse d'un phénomène du rock américain des années 1990." Thèse, 2016. http://hdl.handle.net/1866/22867.
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Kean, Robert Wilfred. "The aesthetics of dissent : cultural opposition and the independent musician /." 2002.
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Kašparová, Markéta. "Role hudební skupiny Extempore v českém undergroundu." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-335829.
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This thesis deals with the music group Extempore since its foundation by Jaroslav Jeronym Neduha in 1973 until its annulment by Mikolas Chadima in 1981. The thesis shows the important moments of the group and its members. Jaroslav Jeronym Neduha was Extempore's frontman by the year 1979 then he left the group and its management handed to Mikolas Chadima. Both gave to Extempore its characteristic style in the musical aspect, lyrics and performance. Extempore gained lots of fans, so the State Security focused on them as a obnoxius music group. The thesis has the aim to reveal Extempore's role in Czech musical underground. Firstly I defined alternative culture in relation to underground and official culture with focus to the music. Also I described Prague's unofficial big beat scene between 1973 - 1981. Primarily the thesis is focused on alternative music scene and musical underground. The review also contains other noncommercial movements during that time - folk association Safran and younger musical movement New Wave that inspirated Chadima's Extempore. Since the 1979 Extempore has been more and more pressed to the illegality until they got ban to perform their music in any Prague's club. Anyways they pushed for public performances and they kept up in free creation. An important outcome is fact that...
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Husák, Martin. "Kontrola a řízení hudební tvorby v období normalizace na příkladu rockové hudby a její medializace." Doctoral thesis, 2017. http://www.nusl.cz/ntk/nusl-354361.
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The thesis "Controlling and managing a music production in the period of normalization on the example of rock music and its media portrayal" describes and analyses the system of controlling and managing Czechoslovak music production in the period of normalization with a particular attention to the mechanisms that deployed socialist ideological and aesthetical standards in the area of rock music. Additionally, this included a prescriptive media coverage highlighting socialist values using coordinated and centralised management through state institutions. The goal of the thesis is then to reveal a modus operandi of communist cultural policy on the examples of media approach to the trials with leading underground music protagonists in 1976 as rock music was a vehicle for expression their dissent attitude toward the system in an artistic way.