Dissertations / Theses: 'Punk Rock'

1

deCourville, Nichols P. IV. "The Punk-Rock Brontes." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1491409983719254.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Barber-Kersovan, Alenka. "Vom "Punk-Frühling" zum "Slowenischen Frühling" der Beitrag des slowenischen Punk zur Demontage des sozialistischen Wertesystems." Hamburg Krämer, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2655733&prov=M&dok_var=1&dok_ext=htm.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Traulsen, Andrew. "More than music :." [Chico, Calif. : California State University, Chico], 2009. http://hdl.handle.net/10211.4/107.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Kieran, Jonathan P. "For Want Of: A Punk Rock Short Film." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1992.

Full text

Abstract:

In light of the specific challenges of assessing a thesis film—a project which contains artistic and academic components—the author examines his own short film For Want Of as a prototype for future work in film and as an opportunity for introspective investigation into the nature of filmmaking and personal artistic process. Reference is made to specific episodes during the film’s conception and production, as well as higher-level insight gained from following the film through an 18-month production cycle.

APA, Harvard, Vancouver, ISO, and other styles

5

Peters, Sean (Sean Louis). "Listening in the Living Room: The Pursuit of Authentic Spaces and Sounds in Dallas/Fort Worth (DFW) Do-It-Yourself (DIY) Punk Rock." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062889/.

Full text

Abstract:

In the Dallas/Fort Worth (DFW) do-it-yourself (DIY) punk scene, participants attempt to adhere to notions of authenticity that dictate whether a band, record label, performance venue, or individual are in compliance with punk philosophy. These guiding principles champion individual expression, contributions to one's community (scene), independence from the mainstream music industry and consumerism, and the celebration of amateurism and the idea that everyone should "do it yourself." While each city or scene has its own punk culture, participants draw on their perceptions of the historic legacy of punk and on experiences with contemporaries from around the world. For this thesis, I emphasize the significance of performance spaces and the sonic aesthetic of the music in enacting and reinforcing notions of punk authenticity. The live performance of music is perceived as the most authentic setting for punk music, and bands go to great lengths to recreate this soundscape in the recording studio. Bands achieve this sense of liveness by recording as a group, rather than individually for a polished studio sound mix, or by inviting friends and fans into the studio to help record a live show experience. House venues have been key to the development of the DFW scene with an emphasis on individual participation through hosting concerts in their homes. This creates a stronger sense of community in DIY punk performance. Through participation observation, interviews, analysis of source materials, as well as research in previous Punk scholarship, questions of authenticity, consumerism, and technology and sound studies, this thesis updates work on the experience of sound, listening, and the importance of space in DIY punk communities today.

APA, Harvard, Vancouver, ISO, and other styles

6

Stewart, Francis Elizabeth. ""Punk rock is my religion" : an exploration of straight edge punk as a surrogate of religion." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3441.

Full text

Abstract:

Using a distinctly and deliberately interdisciplinary approach to the subject of religion and spirituality as it presents itself within modern Western Societies today, this thesis argues that Straight Edge hardcore punk is a surrogate for religion. The term surrogate is used to denote the notion of a successor and a protector and provider of nourishment. It has been re-interpreted from Theodore Ziolkowski’s work on the same term in ‘Modes of Faith’, in which he examines surrogates for religion which emerged during the early part of the 20th century. An in-depth study, both theoretical and ethnographic in nature and presentation, of Straight Edge hardcore punk is provided to demonstrate that traditionally held categories of religion, secular, sacred and profane are being dismantled and re-built around ideas of authenticity, community, integrity, d.i.y and spirituality. Through the syncretic practices of the Straight Edge adherents they are de-essentialising religion and thus enabling us to re-consider the question of what religion is or could be. This thesis relies on theoretical ideas, interview quotes, informant quotes, researcher taken photographs, and interviewee created or utilised images, tattoos, graffiti and flyers. All of these are interspersed with song lyrics from various bands relevant to the time period under discussion and the themes being drawn out. Much like the adherents themselves, this thesis exists very much within the space of the ‘in-between’, which creates and reacts to necessary tensions throughout.

APA, Harvard, Vancouver, ISO, and other styles

7

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

8

Michalski, Stefan. "'Anarchy in the U.K.' : an analysis of punk rock /." [Adelaide : University of Adelaide], 1985. http://web4.library.adelaide.edu.au/theses/09AR/09arm621.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Gatto, Vinicius Delangelo Martins. "Rock Progressivo e Punk Rock : Uma análise sociológica da mudança na vanguarda estética do campo do Rock." reponame:Repositório Institucional da UnB, 2011. http://repositorio.unb.br/handle/10482/9724.

Full text

Abstract:

Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Sociais, Departamento de Sociologia, 2011.
Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2011-12-02T14:40:01Z No. of bitstreams: 1 2011_ViniciusDelangeloMartinsGatto.pdf: 955361 bytes, checksum: 3e818e023422e2024266b298e6801683 (MD5)
Approved for entry into archive by Leila Fernandes (leilabiblio@yahoo.com.br) on 2011-12-13T14:03:26Z (GMT) No. of bitstreams: 1 2011_ViniciusDelangeloMartinsGatto.pdf: 955361 bytes, checksum: 3e818e023422e2024266b298e6801683 (MD5)
Made available in DSpace on 2011-12-13T14:03:26Z (GMT). No. of bitstreams: 1 2011_ViniciusDelangeloMartinsGatto.pdf: 955361 bytes, checksum: 3e818e023422e2024266b298e6801683 (MD5)
Esta dissertação possui como objetivo explicar sociologicamente a transição na vanguarda estética do campo do Rock. Entre 1967 e 1977, o campo do Rock conheceu os períodos de maior sucesso comercial e de prestígio primeiramente do Rock Progressivo e em um segundo momento do Punk Rock. Que motivos sociológicos explicam esta transição? Considera-se aqui que a arte não é uma esferada ilhada e separada do restante da sociedade. Por outro lado, a arte pode possuir, sim, um aspecto mais autonônomo entretanto os desenvolvimentos nos campos artísticos são mediados pelos desenvolvimentos sociais mais gerais. É fundamental para este trabalho a noção de campo de Bourdieu. Se as transições nos campos artísticos são perpassados pelos desenvolvimentos sociais mais gerais isto quer dizer que cada movimento ou vanguarda artística tem de lidar necessariamente com o seu período histórico e com as condições materias objetivas de produção e do capital. Esta preocupação com a estrutura econômica é tratada com base no trabalho do téorico Fredric Jameson. Há uma preocupação em demonstrar desenvolvimentos micro sociais, entretanto estes desenvolvimentos são reconectados aos desenvolvimentos sociais mais gerais. Portanto as sociaibilidades, valores e sentimentos que se desenvolvem entre os atores do campo do Rock e que são analisados neste trabalho são limitados por uma situação objetiva comum de cada tempo histórico. Como conclusão procura-se demonstrar que cada tempo histórico, Modernidade e Pós-Modernidade e cada lógica cultural correspondente modernismo e pós-modernismo mediaram os desenvolvimentos no campo do Rock. ______________________________________________________________________________ ABSTRACT
This work has as main objective to explain in sociological terms the transition in the aesthetics vanguard of the Rock field. The Rock field experienced between 1967 and 1977, first the apogee of Progressive Rock and then the apogee of Punk Rock. Which sociological concepts do explain this transiton? It´s considered in this work that art is not a separated island from the rest of society. The fields of art may be autonomous in a certain way but, this autonomy is not self complet, this means that the developments in the artistic fields are mediated by the social developments in general. It is fundamental for this work the notion of field as conceived by Bourdieu. If the developments in the artistic field are transpassed by the more general social developments, this means that every artistic vanguard has to deal, necessarily, with his historic time and with the material condition of a certain given time. This concern about the economic structure is analysed according the work of the theorist Fredric Jameson. There is a concern about micro social developments, but these developments are reconected to the social developments in capital and society. So, the sociabilitys, values and feelings among the actors of the Rock field are limitades by a given situation of each historic time. As conclusion, I intend to demonstrate that each historic time, Modernity and Post Modernity and each corresponding cultural logic, modernism and post modernism have mediated the developments in the Rock field.

APA, Harvard, Vancouver, ISO, and other styles

10

Kass, Sara. "The Form of Nonconformity: Architecture & The Punk Rock Aesthetic." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/34339.

Full text

Abstract:

Punk rock is about music, rebellion, anarchy, and style. How can this be translated into architecture? Can a building possess these qualities? What would a "rebellious" building look like? How will it change our conceptions of "beauty?"
Master of Architecture

APA, Harvard, Vancouver, ISO, and other styles

11

Gomes, de Barros Lydia. "O Alto José do Pinho por trás do punk rock." Universidade Federal de Pernambuco, 2006. https://repositorio.ufpe.br/handle/123456789/3505.

Full text

Abstract:

Made available in DSpace on 2014-06-12T16:31:33Z (GMT). No. of bitstreams: 2 arquivo4758_1.pdf: 985985 bytes, checksum: 388cfdc8fb5c79b08b3a09872c3a3f0a (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2006
A presente dissertação se propõe a investigar a maneira pela qual os media apreendem, elaboram e constituem uma representação do movimento de música alternativa do Alto José do Pinho, articulado em torno de grupos denominados punks; como a construção dessa realidade pela mídia retorna à comunidade; de que forma ela reconfigura as inter-relações no bairro ao longo do período pesquisado; e sob que condições é retroalimentada a relação entre os meios massivos e este subúrbio. Também é objetivo deste trabalho lançar luz sobre as singularidades dessa cena punk, cristalizar as tensões estabelecidas entre o movimento musical e os moradores do bairro e compreender até que ponto essa cena cultural determina as formas de socialidade naquele campo social

APA, Harvard, Vancouver, ISO, and other styles

12

Pietschmann, Franziska. "A Blacker and Browner Shade of Pale: Reconstructing Punk Rock History." Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-62981.

Full text

Abstract:

Embedded in the transatlantic history of rock ‘n’ roll, punk rock has not only been regarded as a watershed moment in terms of music, aesthetics and music-related cultural practices, it has also been perceived as a subversive white cultural phenomenon. A Blacker and Browner Shade of Pale challenges this widespread and shortsighted assumption. People of color, particularly black Americans and Britons, and Latina/os have pro-actively contributed to punk’s evolution and shaped punk music culture in the United States and England. Examining why people of color are not linked to the punk rock genre and culture in normative discourse, this paper first scrutinizes the continuously unaddressed racialization of Anglo-American popular music itself and explores how the historical development and discursive construction of racial boundaries impacted the historiography of Anglo-American popular music. Building on these premises, the second central field of inquiry probes how the music press, aided and abetted by academic texts, constructs punk as a white music mono-culture that such discourse historicizes, analyzes, and maintains. Both popular (journalistic) and academic publications have largely ignored or underrepresented the presence of people of color, especially black (American) as well as Latina/o participants, in punk rock culture. The thesis’ third major focus imagines punk as a fluid social and musical convergence culture that continuously crosses unstable boundaries of genres, races, and genders. A Blacker and Browner Shade of Pale thus indicates an emerging awareness of how popular and academic discourse can become more sensitive to punk's multiracial, inclusive, and participatory mores.

APA, Harvard, Vancouver, ISO, and other styles

13

Marques, Victor Otávio Carvalho. "Cultura e ruína: o punk rock britânico da década de 1980." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/4738.

Full text

Abstract:

Made available in DSpace on 2016-04-26T18:15:21Z (GMT). No. of bitstreams: 1 Victor Otavio Carvalho Marques.pdf: 4590420 bytes, checksum: ff028f0c56dac2ab04dee666e2e312ce (MD5) Previous issue date: 2015-11-27
Conselho Nacional de Desenvolvimento Científico e Tecnológico
The present work aims to analyze the way that the British punk rock from the 1980‟s be part of our culture. Its intent is embrace a marginal cultural process through and from disposed phonographic elements. It is urgent this discussion by this cover possible composites to the observation of our mediatic, especially in music, on the end of the XX century, that the changes, mostly technical, progress faster. We contrast, as a hypothesis, that this subscription to the margins of culture is descendant of choices of each group analyzed here made instead of fame, figuring another relationship with the cultural development previewed by Iuri Lótman. Therefore, we embraced theoretical apparatus divided in two big parts: studies about the voice and its insertion in cultural series that it makes part and different cultural studies. We jut, here, the figures of Paul Zumthor, the aforementioned Iuri Lótman, Jesús Martín-Barbero, Walter Benjamin, Giorgio Agamben and Jerusa Pires Ferreira. The conclusion we point is a change of all the musical production scheme nowadays, this market having known radical changes and counter devices tacit for the undergrounds created by pun rock
O presente trabalho visa analisar a maneira pela qual o punk rock britânico da década de 1980 se insere em nossa cultura. Seu objetivo é enfocar um processo cultural marginal através e a partir de elementos dispostos em materiais fonográficos. Faz-se urgente tal discussão por esta abarcar compósitos possíveis para observar nossa construção mediática, sobretudo musical, em fins do século XX, cujas mudanças, principalmente de ordem técnica, avançavam velozmente. Destacamos, como hipótese, que essa adesão às margens da cultura seja proveniente de escolhas que cada um dos grupos aqui analisados fez em detrimento da fama, figurando uma relação diferente com o desenvolvimento cultural das fronteiras, formulação prevista sobretudo por Iuri Lótman. Para tanto, munimo-nos de aparatos teóricos que se dividem em duas grandes frentes: estudos da voz e da cultura. Ressaltamos aqui as figuras de Paul Zumthor, o já mencionado Iuri Lótman, Jesús Martín-Barbero, Walter Benjamin, Giorgio Agamben e Jerusa Pires Ferreira, que integram todos os passos deste texto. A conclusão que apontamos é haver uma mudança em todo o esquema de produção musical nos dias de hoje, tendo este mercado conhecido alterações radicais e contradispositivos tácitos vigentes nos undergrounds edificados pelo punk rock

APA, Harvard, Vancouver, ISO, and other styles

14

Maxson, Brian. "Tester: A Story of Class, Academia, Punk Rock, and Generation X." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/6185.

Full text

Abstract:

Written under the name "Malcolm Franklin", this article offers an account of my journey from first-generation college graduate from the rural midwest to college professor. I wrote it as a pedagogical text to give my undergraduates and graduate history students at ETSU a better sense of the challenges that face them if they choose to pursue an academic career path.

APA, Harvard, Vancouver, ISO, and other styles

15

Sevillano, Daniel Cantinelli. "Pro dia nascer feliz? Utopia, distopia e juventude no rock brasileiro da década de 1980." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-16082016-103618/.

Full text

Abstract:

Através da utilização de letras de músicas produzidas entre os anos de 1981 e 1989, busquei analisar o papel que o rock brasileiro teve como elemento de manifestação da juventude que havia crescido sob a ditadura de 1964. Utilizei os conceitos de utopia e distopia para compreender de que maneira essas letras, ao mesmo tempo, serviram como representação da compreensão desses jovens de seu momento histórico e como instrumento de crítica da realidade econômica e social ao seu redor. Mais do que reflexo cultural de seu período, tais letras manifestavam a contradição ideológica da época, na qual a utopia em torno de uma sociedade melhor era negada pela própria distopia presente nas relações econômicas e sociais cotidianas. Esta mesma contradição foi observada na relação entre arte e mercado, criticada por muitas bandas, mas necessária para que suas músicas alcançassem seus ouvintes. É importante ressaltar que o movimento punk brasileiro teve papel fundamental para as bandas do rock brasileiro da década de 1980, pois ele mostrou que era possível produzir músicas para e pela juventude que vivia a transição da ditadura para a democracia.
Using lyrics of songs produced from 1981 to 1989, I tried to analyze the role Brazilian rock n roll had as an element of manifestation of youngsters who had grown up during the 1964 dictatorship. I used the concepts of utopia and dystopia to understand in which way these lyrics, at the same time, served as a representation of the understanding of these youngsters of their historical moment and as an instrument of criticism of the economic and social reality that surrounded them. More than just a cultural reflex of their period, these lyrics demonstrated the ideological contradiction of their time, in which utopia regarding a better society was denied by dystopia that could be found on daily economic and social relations. That same contradiction was observed on the relation between art and market, criticized by many bands, but necessary for the dissemination of their songs among their listeners. It is important to say that the Brazilian punk movement had a fundamental role for the Brazilian rock bands of the 1980s, since it showed it was possible to make songs for and by the youngsters that were living the transition from dictatorship to democracy.

APA, Harvard, Vancouver, ISO, and other styles

16

Trott, Brian. "Faouda Wa Ruina| A History of Moroccan Punk Rock and Heavy Metal." Thesis, The University of Wisconsin - Milwaukee, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10815577.

Full text

Abstract:

Under the Supervision of Professor Gregory Carter While the punk rock and heavy metal subcultures have spread through much of the world since the 1980s, a heavy metal scene did not take shape in Morocco until the mid-1990s. There had yet to be a punk rock band there until the mid-2000s. In the following paper, I detail the rise of heavy metal in Morocco. Beginning with the early metal scene, I trace through critical moments in its growth, building up to the origins of the Moroccan punk scene and the state of those subcultures in recent years. I also discuss in depth the organization of concerts and music festivals in Morocco. I argue that Moroccan youth creatively engage with globalized media, to create original, subjective interpretations of said media. This paper is split into sections of analysis and sections of narrative based on interviews I conducted with members of the Moroccan punk and metal scenes.

APA, Harvard, Vancouver, ISO, and other styles

17

Debies-Carl, Jeffrey S. "Building a Better Tomorrow: Punk Rock and the Socio-Politics of Place." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253037189.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Tompkin, Julian Gareth. "New frequencies from planet Perth: Punk rock and Western Australia's sesquicentenary celebrations." Thesis, Curtin University, 2012. http://hdl.handle.net/20.500.11937/2430.

Full text

Abstract:

Dislocated by both land and sea, Perth’s punk scene would nonetheless play a pivotal role in the development and global dissemination of punk rock in the 1970s. Set against the traditionalist context of Western Australia’s 150th anniversary celebrations in 1979, this study readdresses the birth of WA’s punk counterculture and its uneasy relationship with the State’s mainstream cultural narrative, as well as the genre’s enduring cultural legacy in Western Australia.

APA, Harvard, Vancouver, ISO, and other styles

19

Magalhães, Emerson. "CONSTRUÇÃO DA CENA CULTURAL E MUSICAL DO ROCK ALTERNATIVO GOIANO." Pontifícia Universidade Católica de Goiás, 2017. http://tede2.pucgoias.edu.br:8080/handle/tede/3699.

Full text

Abstract:

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-06-01T14:03:52Z No. of bitstreams: 1 EMERSON MAGALHÃES.pdf: 4503685 bytes, checksum: f660dc448e46fbaa62e032dbcea91699 (MD5)
Made available in DSpace on 2017-06-01T14:03:52Z (GMT). No. of bitstreams: 1 EMERSON MAGALHÃES.pdf: 4503685 bytes, checksum: f660dc448e46fbaa62e032dbcea91699 (MD5) Previous issue date: 2017-03-10
The present work has the objective of analyzing the construction of the cultural and musical scene of alternative rock from Goiás. From the notion of field, abstracted from the work of Pierre Bourdieu (2012), presents the rock from its roots and its emergence in the United States as well as its main agents and musicians. There is also the Brazilian rock of the 80's, influenced by the majors, followed by the opposition of the punk movement, in parallel with the São Paulo working-class movement, as a periphery movement and groups forgotten by the great musical media. Through the motto of it yourself, punks countered this idea of dominance by major record companies, provoking a conflict between the dominant, represented by the majors, and the dominated, represented by the underground punk movement. This movement reverberates in Goiás and the youth of Goiás promote, through festivals and fanzines, a local rock forgotten of the call Axis Rio-São Paulo and against the attempt to create a sertaneja musical identity for the goianos. In this process, it creates a musical and cultural scene with its own identity. The work heard entrepreneurs, participants of bands in interviews and had as theoretical contributions of Napolitano (2005), Benevides (2010), (2013), Bourdieu (1996), (2007), (2012), Alexandre (2002), Dapieve (1996), O‟Hara (2005), Friedlander (2002), Dias(2000), Brandini (2004), Kossa (2005).
O presente trabalho tem como objetivo a análise da construção da cena cultural e musical do rock alternativo goiano. A partir da noção de campo, abstraída da obra de Pierre Bourdieu (2012), apresenta-se o rock desde suas raízes e o seu o seu surgimento nos Estados Unidos assim como seus principais agentes e músicos. Apresenta-se também o rock brasileiro dos anos 80, influenciado pelas grandes gravadoras (majors), seguido da contraposição do movimento punk, paralelamente ao movimento operário de São Paulo, como um movimento de periferia e de grupos esquecidos pela grande mídia musical. Através do lema do it yourself (faça você mesmo) os punks se contrapuseram a essa ideia de domínio das grandes gravadoras, provocando um conflito entre os dominantes, representado pelas majors, e os dominados, representados pelo movimento underground punk. Esse movimento reverbera em Goiás e a juventude goiana promove, através de festivais e fanzines, um rock local esquecido do chamado Eixo Rio-São Paulo e contra a tentativa de se criar uma identidade musical sertaneja para os goianos. Nesse processo, cria uma cena musical e cultural com identidade própria. O trabalho ouviu empresários, participantes de bandas em entrevistas e teve como aportes teóricos Napolitano (2005), Benevides (2010), (2013), Bourdieu (1996), (2007), (2012), Alexandre (2002), Dapieve (1996), O‟Hara (2005), Friedlander (2002), Dias(2000), Brandini (2004), Kossa (2005).

APA, Harvard, Vancouver, ISO, and other styles

20

Muñoz, Salinas Carolina. "Santiago, soundtrack de un mundo oscuro." Tesis, Universidad de Chile, 2012. http://repositorio.uchile.cl/handle/2250/134727.

Full text

Abstract:

Memoria para obtener el Título de Periodista
Con las tendencias musicales de las décadas del 70 y 80, y justo entre el término de una y el comienzo de la otra, nace de uno de los géneros musicales más amplios que se conozcan. Cuando existía una creciente necesidad por un movimiento que representara la inconformidad de los jóvenes y que escapaba de los alcances del punk de los 70’s, surgió el Gótico, para reunir a un grupo de personas que compartían ciertas necesidades y gustos, tanto en su forma de vestir como en sus preferencias musicales. El antecedente del gótico es el punk: en Estados Unidos e Inglaterra esta tendencia musical se consolidó como el movimiento que identificaba a los jóvenes y que se atrevía a decir lo que muchos pensaban, pero que pocos habrían osado gritar frente a una multitud. Este fenómeno, explotó en dos ciudades más o menos en la misma época. Por un lado New York y, por el otro lado, Londres. Tras esto, no tardó en extenderse por todo el mundo, como estilo musical y hasta como forma o actitud hacia la vida. Un efecto que, como bomba gigantesca, irradió hasta a kilómetros de su epicentro. Y uno de sus principales méritos, fue que el punk logró llevar la agrupación de rock a la gente común. Contra el músico-estrella, la juventud tomaba el mando desde abajo, produciendo su propio entretenimiento, redefiniendo la cultura rock y adoptando como su propia estética los desechos de una sociedad en profunda decadencia económica. Londres, años 70. Inglaterra pasaba un malísimo momento económico, una situación que derivó en una importante desocupación, el crecimiento de los barrios pobres, la falta de respuestas y la perspectiva de un horizonte negro a aquellos sueños de realización, que habían sido la meta de las generaciones anteriores. La juventud no tenía nada que hacer y después de estudiar durante años, salía a la calle y no encontraba trabajo, lo cual los obligaba a vivir con una escasa pensión para desempleados que les otorgaba el Estado. Frente a esto, algunos jóvenes comienzan a cuestionarse la forma en que funciona la sociedad y el enorme contraste entre la vida del pueblo (su propia vida) y la vida de la familia real, con todas sus riquezas y el orgullo de su sangre azul. Hartos de todo esto, crean un nuevo estilo musical, con letras y música diferente, que estaba en contra de todo lo establecido y en el que los conocimientos de interpretación o canto, no eran necesarios. “Supuso una válvula de escape de la rabia juvenil que veía como la sociedad acomodada les negaba la voz y el protagonismo que requerían. En el aspecto musical es absolutamente contrapuesto al rock progresivo, ya que el virtuosismo brillaba por su ausencia y sus canciones eran cortas, directas y con mucha rabia.” El nombre "punk" (mocoso, basura, inservible) fue el nombre que le dio la prensa a estos grupos, que poco a poco comenzaron a verse en las calles y a hacerse escuchar. “Las guitarras se convirtieron en fusiles, tenían mucho que decir y para eso no hacía falta tener una voz privilegiada sino todo lo contrario, una voz que gritara realidades. El underground estaba tomado, ya no habitado por proyectos de estrellas sino por la más significativa muestra de respuesta cultural a la cultura dominante; muchos jóvenes estaban demostrando que su mundo no tenía nada que ver con el que las generaciones anteriores habían soñado. Todos los símbolos, los parámetros estéticos y todo lo que representara la sociedad quedaba del otro lado de la valla que la misma realidad les había impuesto. La cuestión era diferenciarse de ese sistema que los había marginado por completo.” El punk americano, en cambio, contenía temáticas diferentes al británico, porque en EE.UU. no se vivía la misma situación económico-política. Dee Dee Ramone, decía por ejemplo: "Los punk británicos son unos amargados. Cantan canciones sobre el problema de no tener trabajo y eso no puede ser muy alegre, nosotros también estábamos en el paro cuando empezamos y eso no nos impidió hacer canciones divertidas. Ellos tienen una mentalidad muy negativa. Y odian Estados Unidos. ¿Cómo se atreven?" . Lo cierto era que con el crecimiento del punk y su expansión territorial, fueron surgiendo distintas facetas, en que cada uno tomaba lo que más le convencía. Y como ocurre casi siempre con lo emergente, el sistema económico encontró la manera de adoptarlo, transformándolo en algo comercial. "Estados Unidos manejó el tema de otra manera, mucho más (norte) americana. Mientras Gran Bretaña ve al punk como una amenaza, los norteamericanos no pierden el tiempo; los grupos de éxito pasan del underground al sistema rápidamente, anulando en cierto sentido, con esa actitud más liberal, la esencia misma del movimiento. El punk parecía un negocio más que una amenaza.” Con el paso de los años, el punk también se ramificó por distintos subgéneros, siendo influido por otros estilos musicales y sufriendo una especie de mutación en sus letras y melodías. Estas vertientes del punk se dividen a veces por sus características musicales y otras, por el contenido de sus letras o las ideologías políticas propias de los grupos que lo interpretan. Muchos de ellos, se movían de uno a otro género constantemente, existiendo diferentes niveles de evolución o fusión, por lo que se hace difícil agruparlos bajo un solo término. Entre los subgéneros más destacados, según los rasgos musicales predominantes, se encuentran: el hardcore punk, el ska punk, el crossover trash (fusión entre hardcore punk y thrash metal) y el psychobilly (mezcla de rockabilly y punk rock). Si los separamos en cambio por sus temáticas, están el anarco punk, el horror punk, el Oi! (relacionado con las ideas skinhead) y el RAC (skinhead de derecha), entre otros. Otro de estos subgéneros, y sin duda uno de los más importantes por su legado y vigencia hasta la actualidad, es el Post Punk, en que las proclamas de lucha y trasgresión se decantaron en una actitud pesimista, dominada por la angustia y la depresión. En él, la desilusión de no poder cambiar las cosas se traduce en una estética oscura, a modo de luto, y las temáticas político- anarquistas son abandonadas, para adentrarse en unas letras mucho más introspectivas. Fue así como algunos de los herederos del movimiento punk decidieron descolgarse de él, creando un nuevo género musical, que utiliza su energía y simplicidad para expresar emociones más complejas. Nacía, de esta forma, uno de los pilares base de lo que hoy conocemos como el Rock Gótico.

APA, Harvard, Vancouver, ISO, and other styles

21

Wood, Joshua. "“The Way It Goes”: Stories." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115183/.

Full text

Abstract:

This collection of short stories attempts to examine the role of a changing and often indifferent world has in the way various characters achieve maturity. Though the past is not always obvious in each story, each protagonist is characterized as holding onto some aspect of his or her past life in a way that is detrimental to their growing as human beings. the stories attempt to portray the indifference of the world as it moves forward to the plight of these characters, and to portray the manner in which they each come to terms with such a world and with their own lives.

APA, Harvard, Vancouver, ISO, and other styles

22

Cuzzolin, Clelia. "Abituàti a morire: Uno sguardo sulla scena punk-rock siberiana degli anni '80." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/9217/.

Full text

Abstract:

Il presente elaborato ha lo scopo di fornire una panoramica sul movimento punk siberiano, nato e sviluppatosi a cavallo fra il 1984 e il 1991. L'analisi della poetica di alcuni fra i musicisti principali del cosiddetto "sibpunk" e la traduzione delle loro canzoni più significative costituiscono una prospettiva inusuale e interessante per osservare la Siberia negli anni della Perestrojka.

APA, Harvard, Vancouver, ISO, and other styles

23

Bestley, Russell. "Hitsville UK : punk rock and graphic design in the faraway towns, 1976-84." Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/2296/.

Full text

Abstract:

This research has two primary aims, both of which relate to a study of graphic design methods within the field of popular culture. The first aim is to identify the visual codes which appear in the sleeve designs of a broad selection of UK punk seven inch singles released between 1976 and 1984, and to analyse these in relation to a number of different punk sub-genres and audience groups. Sleeves are mapped stylistically, geographically and chronologically to show the evolution of a range of distinct design strategies and the diasporic effect on the development of punk in the wider regions of the UK. The documentation of these graphic traits reveals the ways in which distinct patterns within punk’s visual language evolved and eventually became entrenched over time. The second aim is the development of a transferable, theoretical and practical method for characterising the formal properties of a range of graphic material. A number of print-based and interactive visual matrices accompany the written thesis, as a key component of the research methodology. In this way, the relationship between graphic design, time and place, and audience is made clear, while the interactive display allows for a more complex range of textual information to be shown, along with the opportunity to review links between sound and visual form. Visual material extended from this research was exhibited successfully in Southampton, London and Blackpool during the spring and summer of 2007, and a number of public talks were given by the author. The major contribution to new knowledge and understanding is in the development of an analytical methodology that has focused on punk graphics but which could be adapted to the study of other graphic artefacts related to visual manifestations of youth culture in the late 20th century and beyond.

APA, Harvard, Vancouver, ISO, and other styles

24

Dowman, Sarah. "Mapeando la cultura Kruda: Hip-Hop, Punk Rock y performances queer latino contemporáneo." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363463760.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Levine, Lauren E. "Act Like a Punk, Sing Like a Feminist: A Longitudinal Content Analysis of Feminist Themes in Punk Rock Song Lyrics, 1970-2009." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801944/.

Full text

Abstract:

Punk rock music has long been labeled sexist as copious media-generated accounts and reports of the genre concentrate on male artists, hyper-masculine performances, and lyrics considered to be aggressive, sexist, and misogynist. However, scholars have rarely examined punk rock music longitudinally, focusing heavily on 1980s and 1990s manifestations of the genre. Furthermore, few systematic content analyses of feminist themes in punk rock song lyrics have been conducted. The present research is a longitudinal content analysis of lyrics of 600 punk rock songs released for four decades between 1970 and 2009 to examine the prevalence of and longitudinal shifts in antiestablishment themes, the prevalence of and longitudinal shifts in sexist themes relative to feminist themes, the prevalence of and longitudinal shifts in specific feminist branches, and what factors are related to feminism. Using top-rated albums retrieved from Sputnik Music’s “Best Punk Albums” charts, systematic random sampling was applied to select 50 songs for each combination of three gender types and four decades. Sexism and feminism were then operationalized to construct a coding sheet to examine relevant dimensions. While the present study found no significant patterns of longitudinal increase or decrease in feminist or sexist themes, it revealed that feminist themes were consistently high across four decades and, furthermore, indicated a phenomenon of post-modern hybridity.

APA, Harvard, Vancouver, ISO, and other styles

26

Dymock, Laura. "No compromise with their society : the politics of anarchy in anarcho-punk, 1977-1985." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101878.

Full text

Abstract:

In order to analyze the relationship of punk to anarchy, this thesis will investigate the discursive function of "anarchy" both in contemporaneous accounts of punk and in subsequent histories. Beginning with the genesis of British punk and the first references to anarchy in different media during the late 1970s, subsequent chapters focus on the seminally influential anarcho-punk band Crass in order to discern their impact on the evolution of the anarcho-punk genre and its relationship to anarchism up through the mid-1980s. Several other anarcho-punk bands will also be considered for their contributions to this genre. In addition to providing an in-depth study of anarcho-punk, which has been largely ignored by scholars, the present work seeks to enhance understanding of the role of anarchy in punk discourse and hopes to offer a starting point for analysing recent developments in other politicised subcultures.

APA, Harvard, Vancouver, ISO, and other styles

27

Roig, Olivia. "Green Day: Rock Music and Class." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1460052619.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

29

Finnanger, Sindre Schultz. "Punk i Polen under kommunismen : Polske ungdommers opprør for autonomi på 80-tallet." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for historiske studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-25373.

Full text

Abstract:

Denne masteroppgaven i historie behandler problemstillingen «Hvordan oppnådde polske ungdommer autonomi gjennom punk på 80-tallet?». Spørsmålet blir drøftet med utgangspunkt i punkernes meningsutveksling gjennom musikk og fanziner. Punk ble en dominerende subkultur blant ungdom i det Polen gjennom 80-tallet, noe som gjorde punkere til et påfallende trekk ved det polske samfunnet. Punkbevegelsens utvikling og skiftende samfunnskritiske rolle blir diskutert i denne oppgaven. Punkernes bruk av autonomi som ideologi reflekteres i musikken deres og i hvordan de organiserte sitt fellesskap. Hvordan dette kom til uttrykk er en sentral del av oppgavens innhold. Videre settes punkbevegelsen inn i en samfunnskontekst der punk var en av de tydeligste formene for ungdomsopprør mot kommunismen i Polen på 80-tallet, men samtidig var en delvis tolerert protestform. Denne problematikken drøftes med utgangspunkt i hvordan punkerne skapte sine egne autonome strukturer og hvordan disse ble forsøkt kontrollert av myndighetene og påvirket gjennom massemediene.

APA, Harvard, Vancouver, ISO, and other styles

30

Prado, Gustavo dos Santos. "“Caminho para a morte” na metrópole - cultura punk: fanzines, rock, política e mídia (1982-2004)." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/19827.

Full text

Abstract:

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-03-21T12:47:23Z No. of bitstreams: 1 Gustavo dos Santos Prado.pdf: 5513365 bytes, checksum: 2fe4c359115e31237d50bd893d81e8d0 (MD5)
Made available in DSpace on 2017-03-21T12:47:23Z (GMT). No. of bitstreams: 1 Gustavo dos Santos Prado.pdf: 5513365 bytes, checksum: 2fe4c359115e31237d50bd893d81e8d0 (MD5) Previous issue date: 2017-03-10
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research has as an objective to investigate punk culture throughout the decades of 1980 and 1990 and its appropriation by the mainstream market. Therefore, it discusses the “youth punk nihilism”, considering it key in order to comprehend the punk culture represented in fanzines. Verifying how these fanzines were produced and its forms of circulation inside the punk movement. The anarchic postures, as well as political, economic, social and religious views of the editors are problematized. Recovering the thematic proposals of the punk fanzines, such as misery, environment, violence in the relationships/tension among punks and carecas do subúrbio, focusing on more frequent issues and representations, such as: death and critics to the mainstream market. The background of Cólera, a São Paulo band, is analyzed through the newsletters issued by their fan club, which regain the output of the band inside and outside the underground scene, as well as the obstacles and inquiries of the group because of its proximity with the large media. The punk movement and its sonority, as well as the tension with Popular Brazilian Music and commercial rock where traced, trying to retrieve a space for Brazilian punk inside the historiography of “MPB”. This research seeks to scrutinize the journey of the movement and punk culture, as well as its incorporation into the mainstream market, observing the esthetical alterations of fanzines, remains and appropriations of punk esthetics, as well as the dissemination of the collage technique at the contemporaneous media
Esta pesquisa procura investigar a cultura punk ao longo das décadas de 1980 e 1990 e sua apropriação pelo mercado de massa. Para tanto, discute o “niilismo punk juvenil”, considerado como estratégico para se compreender a cultura punk representada nos fanzines. Verifica como foram produzidos esses fanzines e suas formas de circulação no interior do movimento punk. Problematiza o posicionamento anarquista e as visões políticas, econômicas, sociais e religiosas dos editores. Recobra as propostas temáticas dos fanzines punks, como a miséria, o meio ambiente, a violência e as relações/tensões entre punks e carecas do subúrbio, com especial atenção aos assuntos e representações mais frequentes: a morte e as críticas ao mercado de massa. Prioriza-se a trajetória do grupo paulistano Cólera, por intermédio dos boletins organizados por seu fã-clube, permitindo recuperar a atuação da banda dentro e fora da cena underground, bem como os impasses e questionamentos ao grupo em razão de sua proximidade com a grande mídia. O movimento e sonoridade punk e suas tensões com a Música Popular Brasileira e com o rock comercial são rastreados, visando reaver um espaço para o punk brasileiro dentro da historiografia da “MPB”. Procura-se esquadrinhar a trajetória do movimento e cultura punk, bem como a sua incorporação ao mercado de massa, observando-se as mudanças estéticas nos fanzines e as permanências e apropriações da estética punk, como a disseminação do uso da técnica da colagem nas mídias contemporâneas

APA, Harvard, Vancouver, ISO, and other styles

31

Benezra, Samuel Kelly. "White Man (In Hammersmith Palais): Punk, Immigration, and the Politics of Race in 1970s England." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1525455170795717.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

ROGERS, ASHLEY D. "THE INFLUENCE OF GUY DEBORD AND THE SITUATIONIST INTERNATIONAL ON PUNK ROCK ART OF THE 1970s." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1163784738.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Araújo, Tatiana Brandão de. "Punk rock é só pro seu namorado: uma leitura queer sobre o filme All over me." reponame:Repositório Institucional da UFSC, 2014. https://repositorio.ufsc.br/xmlui/handle/123456789/129063.

Full text

Abstract:

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2014.
Made available in DSpace on 2015-02-05T20:39:15Z (GMT). No. of bitstreams: 1 332310.pdf: 5516173 bytes, checksum: 71ce76d1f214b727eb64915d2d0adfc2 (MD5) Previous issue date: 2014
A pesquisa, de natureza qualitativa, se insere na Linha de Pesquisa Crítica Feminista e Estudos de Gênero. Esta investigação tem como cerne teórico a teoria queer com base em autores como Jack Halberstam (2005), Annemarie Jagose (1996) e Richard Miskolci (2012). Embora a sexualidade seja um tema presente nesta dissertação, a questão principal se refere à (hetero)normatividade e aos padrões sociais imbricados nela. Para entabular essas discussões o objeto desta pesquisa é o cinema, o meio através do qual se estabelecem os diálogos com a teoria citada. Ao longo do texto alguns filmes e cenas específicas são apresentados para formular uma discussão teórica inserida no campo da representação imagética, neste caso o cinema. A partir de um caminho teórico e histórico sobre as principais questões abordadas na dissertação, a ideia principal consiste em reunir o cinema e a música, como dois espaços de voz, focando na participação de mulheres no rock n roll e, principalmente, abordando o movimento feminista estadunidense que ocorreu no cenário alternativo musical, o Riot Grrrl. Sendo assim, depois da problematização teórica e histórica das questões abordadas entre esses dois campos de representação artística, o filme All Over Me dirigido por Alex Sichel de 1997 é analisado. A questão norteadora está focada na reflexão acerca do modo como a música e a subcultura representadas em All Over Me, com bandas integradas por jovens meninas, contribui para o empoderamento da personagem principal. A metodologia de análise fílmica utilizada é a proposta por David Bordwell e Kristin Thompson (2008), unindo esta com o percurso teórico feito pelos capítulos anteriores. O queer foi pensado nessa dissertação como uma categoria de análise importante para entender as representações, em especial, as cinematográficas. Essa perspectiva abre a possibilidade para que qualquer representação seja pensada a partir dessas teorias possibilitando o entendimento dos modos de elaboração dos discursos dominantes/normativos através de imagens, histórias e/ou personagens. A categoria se fez necessária, no caso da análise do filme em discussão, para a compreensão de como a personagem principal se sente marginalizada e, até mesmo, hostilizada em certos ambientes. O olhar que conduz a narrativa é a da personagem principal revelando suas perspectivas, sua relação com o próprio corpo e desejo, e o processo de empoderamento ao longo da história estabelecido por sua relação íntima com a música. Através da análise fílmica foi possível identificar esse processo na narrativa, os momentos chaves dentro da história da personagem e o modo como a construção imagética expressa o seu estado psíquico.

Abstract : The research, of qualitative nature, belongs to the field of Feminist Critics and Gender Studies. The theoretical core of this investigation is the queer theory based on author such as Jack Halberstam (2005), Annemarie Jagose (1996) e Richard Miskolci (2012). Although sexuality is a current theme in this dissertation, the main issue concerns the (hetero) normativity and its related social standard. In order to engage in these discussions, the subject used in this research was the cinema, the medium, which establishes dialogues with the aforementioned theory. Throughout the text some specific films and scenes are presented to formulate a theoretical discussion inserted in the field of image representation, in this case, the cinema. From a theoretical and historical journey on the issue addressed in the dissertation, the main idea is to bring together the film and the music, as two spaces of voice, focusing on the participation of women in rock n roll, and specially addressing the American feminist movement in the alternative musical scene, the Riot Grrrl. Thus, after the theoretical and historical problematization of the issue addressed between these two field of artistic representation, the movie All Over Me, directed by Alex Sichel in 1997, is analyzed. The research question focuses on the reflection about how the music and the subculture represented in All Over Me, which integrated bands of young girls, contributed to the empowerment of the main character. The methodology of film analysis used was proposed by David Bordwell and Kristin Thompson (2008), combining it with the theoretical route of the previous chapters. The queer was thought in this dissertation as a category of analysis important to understand representations, in particular the filmic ones. This perspective opens the possibility that any representation can be thought through these theories allowing a better understanding of the development modes of dominant/normative discourse through images, stories and/or characters. The category was necessary for the analysis of this film in order to comprehend how the main character feels marginalized and even ostracized in certain environments. The narrative is conducted by the eyes of the main character revealing her outlooks, the relationship with her own body and desire, and the process of empowerment throughout the history established by her intimate connection with the music. Employing the film analysis it was possible to identify this process in the narrative, the key moments in the history of the character and the way the imagery construction represents her mental state.

APA, Harvard, Vancouver, ISO, and other styles

34

Melgar, Wong José Francisco. "La construcción de lo Punk en el discurso historiográfico sobre la música de la banda Los Saicos." Master's thesis, Pontificia Universidad Católica del Perú, 2020. http://hdl.handle.net/20.500.12404/19212.

Full text

Abstract:

En los años sesenta del siglo pasado los medios de prensa limeños clasificaron a Los Saicos como un grupo de nueva ola. Cuarenta años más tarde, a inicios del siglo XXI, los historiadores del rock peruano lo conceptualizaron como un grupo “inventor del punk”. Estos dos hechos demuestran que, a lo largo de cuatro décadas, los discursos que determinaron la clasificación de Los Saicos en los medios de prensa y en la historiografía del rock local pasaron por un importante proceso de transformación. Dado que no existen investigaciones académicas que muestren los antecedentes históricos y las premisas conceptuales que subyacieron a estas transformaciones, la presente tesis busca llenar este vacío a través de un análisis de la construcción de lo punk en el discurso historiográfico sobre Los Saicos. El primer capítulo muestra la problemática polisemia del término punk, así como la asunción por parte de periodistas e historiadores de que el rock de garaje de mediados de los años sesenta –el género practicado por Los Saicos– fue la raíz del punk británico de finales de los años setenta. Estos dos hechos son relevantes porque se encuentran en la base de la reconstrucción de Los Saicos como un grupo “inventor del punk”. El segundo capítulo se aproxima a los géneros musicales como hechos estéticos y distingue analíticamente entre el rock de garaje de los años sesenta y el punk británico de los años setenta, evaluando la música de Los Saicos a partir de estas distinciones. Finalmente, en el tercer capítulo, tras las aclaraciones históricas y estéticas hechas en los dos capítulos anteriores, se muestran cuáles fueron los presupuestos que subyacieron a la conceptualización de Los Saicos como un grupo responsable de “inventar el punk”, señalando los alcances y las limitaciones de esta conceptualización.

APA, Harvard, Vancouver, ISO, and other styles

35

Felipe, Leonardo Azevedo. "Rock my art : ou O novo esteticismo de Porquê choras? ou O dia em que Eduk entrou para a história da arte." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/87668.

Full text

Abstract:

A partir do estudo de um caso específico – a performance Porquê Choras?, de Rogério Nazari e Telmo Lanes, ocorrida em 14 de agosto de 1985, em Porto Alegre, e que contou com a participação do grupo de rock Defalla – este trabalho busca narrar uma História (Roqueira) da Arte, apontando momentos no século XX em que o campo das artes visuais foi cruzado com o da cultura popular massiva representada pelo rock. Em paralelo, esta pesquisa também propõe reflexões acerca do fazer da própria história da arte e das maneiras de produção da chamada pós-crítica.
From the study of a specific case – the performance Porquê Choras?, by Rogerio Nazari and Telmo Lanes, which occurred on August 14, 1985, in Porto Alegre, and had the participation of the rock group Defalla – this paper seeks to narrate a Rock My Art Story, pointing moments in the twentieth century that the field of visual arts has crossed with pop culture represented by rock’n’roll. In parallel, this research also proposes reflections on the making of the history of art and on the ways of production of the so called post-criticism.

APA, Harvard, Vancouver, ISO, and other styles

36

Wolf, Mary Montgomery Filene Peter G. "We accept you, one of us? punk rock, community, and individualism in an uncertain era, 1974-1985 /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1527.

Full text

Abstract:

Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2008.
Title from electronic title page (viewed Sep. 16, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History." Discipline: History; Department/School: History.

APA, Harvard, Vancouver, ISO, and other styles

37

Hedström, Jessica, and Jonas Lyckegård. "Sociala medier som marknadsföringskanal : En studie kring hur punk och rockare upplever och använder sociala medier." Thesis, Högskolan i Borås, Institutionen Handels- och IT-högskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-16725.

Full text

Abstract:

Problembakgrund: Sociala medier har blivit så viktigt att marknadsförare inte kan bortse ifråndem (Patino, Pitta och Quinones, 2012). Det är viktigt att företag har en klar strategi för hurmarknadsföringen på sociala medier ska se ut (Setreus, 2011). För att få djupare förståelse kringdet här bör användandet av sociala medier undersökas.Syfte: Uppsatsen syfte är att undersöka och beskriva konsumenters beteende på sociala medier,och upplevelser kring företags marknadsföring på sociala medier.Metod: Undersökningen har en kvalitativ ansats. Urvalet i studien är ett spontant uppsökandeurval av tolv individer, som har deltagit i totalt tre stycken gruppintervjuer med fyra personer ivardera.Slutsatser: Respondenterna i undersökningen använde i huvudsak sociala medier för att hållakontakten med vänner. De läste varandras profilsidor, och var noga med hur deras egnaprofilsidor såg ut. I huvudsak publicerade de mer bilder än text. Om företag skulle kontakta dempå sociala medier var det viktigt att respondenterna hade godkänt kontakten först.Praktisk betydelse: Uppsatsens har kommit fram till att för framgångsrik marknadsföring krävsdet en stark upplevd image från konsumenter.
Program: Kandidatutbildning i företagsekonomi

APA, Harvard, Vancouver, ISO, and other styles

38

Clegg, Mindy L. ""Through the Roof and Underground": Translocal Hardcore Punk in Los Angeles and Ljubljana." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/history_theses/44.

Full text

Abstract:

ABSTRACT Punk moved from a marginal subculture to an underground counter-culture -- hardcore punk -- which shared musical culture and sense of a communal identity. Local punk scenes grew, in part due to attention from mass media. New kids in the scene brought new tensions and attracted the attention of authorities. Two police incidents signaled a shift in the punks' view of themselves. I examine two punk scenes from 1975 to 1985 in Los Angeles, USA and Ljubljana, Yugoslavia by looking at newspapers, television programs, fanzines, music, and clothing. I show that a loosely connected group of individuals, self-identified as punk, became increasingly similar as the parent cultures put increasing pressure on punks.

APA, Harvard, Vancouver, ISO, and other styles

39

Kitson, Michael E. "The Sex Pistols and the London mob." Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/38784.

Full text

Abstract:

This thesis concerns the invention, improvisation, and right to ownership of the punk patent and questions the contention, put by the band’s manager, Malcolm McLaren, and other commentators, that the Sex Pistols and English punk were a Situationist prank. This challenge to what, in the majority of punk literature, has become an ‘accepted truth’ was first raised by McLaren’s nemesis, the band’s lead singer, John Lydon. McLaren and Lydon did agree that the London punk movement took its inspiration from the anarchic and chaotic energies of the eighteenth–century London mob. This common crowd could switch instantly and unpredictably from a passive state to an anarchic, violent and destructive mob, or ‘King Mob’: one that turned all authority on its head in concerted, but undirected, acts of misrule. Through his own improvisation with punk tropes, Lydon came to embody English punk and functioned, on the one hand, as a natural mob leader; and on the other, as a focus for the mob’s anger. I argue that, in following McLaren’s reduction of the Sex Pistols to a Situationistinspired prank, one of the earliest and most influential analyses of the punk phenomenon, Greil Marcus’s Lipstick Traces: A Secret History of the Twentieth Century, misunderstood how fundamental the culture and semiotics of the London mob was to McLaren, Lydon, the Sex Pistols and the performance of London punk. I take seriously, then, the idea that the cultural signifiers the Sex Pistols drew upon to make their punk performances, and which accounted in no small way for their ability to ‘outrage’, were exclusively British and unique to London’s cultural topography and the culture of the London crowd. After the implosion of the Sex Pistols on their 1978 American tour, with Lydon quitting in disgust, McLaren attempted to take ownership of the punk legacy: both actually, through attempting to assert his copyright over the Sex Pistols’ brand; and symbolically through re-writing the Sex Pistols’ story in his 1980 movie The Great Rock ‘n’ Roll Swindle. Curiously, and most notably, the mob is foregrounded in the film through its opening sequence, which draws heavily from the events of the Gordon Riots in 1780. This thesis contests the paradigm put in place by McLaren’s version of events as portrayed in The Great Rock ‘n’ Roll Swindle and reconsiders punk as a cultural object trouve. In particular, I consider literary influences on its protagonists: Graham Greene on John Lydon and Charles Dickens and J. M. Barrie on Malcolm McLaren.

APA, Harvard, Vancouver, ISO, and other styles

40

Wilkins, Rex Richard. "El futuro ya está aquí: A Comparative Analysis of Punk in Spain and Mexico." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6997.

Full text

Abstract:

This thesis examines the punk genre's evolution into commercial mainstream music in Spain and Mexico. It looks at how this evolution altered both the aesthetic and gesture of the genre. This evolution can be seen by examining four bands that followed similar musical and commercial trajectories. In Spain, Kaka de Luxe and Radio Futura; in Mexico, Size and Ritmo Peligroso. Since punk music's gesture is both visceral and political, various methods of suppressing or containing the punk gesture arise. For both Spain and Mexico, containing the punk gesture was a matter of government censorship in the early years of punk. By the late 1980s, neoliberalism, global tastes, and capitalist interests controlled the punk gesture more than governmental crackdown. The thesis concludes that while the punk gesture was contained for both political and economic reasons during the 1980s, the resurgence of the punk gesture in the 1990s is evidence of the genre's resilience in a capitalist and hegemonic environment.

APA, Harvard, Vancouver, ISO, and other styles

41

Raines, Laurah Norton. "Tonight is the Night I Come Unglued." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/english_theses/7.

Full text

Abstract:

TONIGHT IS THE NIGHT I COME UNGLUED By Laurah Norton Raines Under the Director of John Holman ABSTRACT This thesis is comprised of a collection of stories concerning adolescents involved in the North Carolina and Atlanta punk rock subcultures. The thesis, which contains six stories, focuses on the crisis moments in the lives of the teenagers and is firmly rooted in contemporary southern culture. The first three stories center on a Georgia native, Aaron, and his aimless adventures in small towns and big punk clubs. The second set of stories is all based in the city of Greensboro, North Carolina, and each concerns a different adolescent girl. INDEX WORDS: Creative Writing, Punk, Greensboro, North Carolina, Georgia, Atlanta, Adolescence, Teenagers, Thesis

APA, Harvard, Vancouver, ISO, and other styles

42

SOUSA, Lucas Padilha de. "Eu amo tudo o que não presta: punk e poética em trinta anos de Delinquentes." Universidade Federal do Pará, 2016. http://repositorio.ufpa.br/jspui/handle/2011/8657.

Full text

Abstract:

Submitted by Nathalya Silva (nathyjf033@gmail.com) on 2017-06-06T17:59:45Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_AmoPunkPoetica.pdf: 4034376 bytes, checksum: 74f3dec77536c63944609eade1e75643 (MD5)
Approved for entry into archive by Edisangela Bastos (edisangela@ufpa.br) on 2017-06-09T15:52:43Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_AmoPunkPoetica.pdf: 4034376 bytes, checksum: 74f3dec77536c63944609eade1e75643 (MD5)
Made available in DSpace on 2017-06-09T15:52:43Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_AmoPunkPoetica.pdf: 4034376 bytes, checksum: 74f3dec77536c63944609eade1e75643 (MD5) Previous issue date: 2016-11-21
CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Com trinta anos de atividades, a banda Delinquentes é uma das principais referências na cena rock de Belém atuando sempre no chamado meio underground. Este trabalho pretende investigar a representatividade desta banda, que já é quase um patrimônio da cena rock local de Belém, e qual a sua importância para os indivíduos participantes dessa cena, sejam eles artistas ou fãs. O que motiva até os dias de hoje tanta gente a continuar se interessando pelos Delinquentes, por ouvirem suas músicas e irem aos shows? O que fez esses artistas resistirem três décadas em uma banda underground de punk em um cenário como Belém, à margem dos grandes centros culturais do Brasil? Qual é a relevância que esta banda tem de fato para outros artistas, veteranos ou jovens, e o que ela representa, hoje, no cenário do rock paraense? A pesquisa se inicia no contexto o qual a banda surgiu, no ano de 1985, e posteriormente, na relação que se estabeleceu entre a banda e os participantes da cena de rock de Belém. A pesquisa tem como referencial teórico os estudos de Stuart Hall (2014) sobre identidades em A identidade cultural na pós-moderninade, para traçar um paralelo histórico recente da música popular paraense e tentar entender como foi a formação de uma tribo roqueira na cidade de Belém. Para isso busca-se através da compreensão de Michel Maffesoli (2014) em O Tempo das Tribos: o declínio do individualismo nas sociedades de massa, para assimilar como a banda dialoga com outros artistas, produtores e público. A pesquisa foi realizada através de registros bibliográficos, publicações em jornais, publicações independentes, o próprio acervo da banda, registros audiovisuais e entrevistas realizadas com integrantes atuais e anteriores, produtores, jornalistas, artistas e apreciadores dos Delinquentes. Utilizei a metodologia tripartite de Allan Merriam (1964) para estruturar o discurso com estes outros autores e construir, através da linguagem do filme etnogra´fico, um produto audiovisual como resultado final desta pesquisa. A pesquisa parte do formato audiovisual para construir um discurso analítico sobre o fenômeno sonoro. Nesta pesquisa, o filme é uma maneira de contar a história como um método de pesquisa audiovisual tomando como arquitetura teórica uma metodologia de etnomusicologia. A linguagem visual da pesquisa é trabalhada em cima da narrativa do fanzine, que eram publicações independentes muito importantes para subculturas como o punk. Este trabalho propõe a reflexão sobre a importância da banda Delinquentes, assim como de seus desdobramentos, na consolidação da cena underground da cidade de Belém.
Delinquentes is a band with thirty years of activity and it's one of the main references in rock and the underground scene from city of Belem, capital of State of Para, in Amazonia. This work intends to investigate the representation of this band, which is almost a patrimony to Belem rock scene, and what's its importance for the artists and fans whose are participating in this scene. What motivates many people even today to be interested by Delinquentes, for listening to its music and go to concerts? What made these artists resist three decades in an underground punk rock band in a scenario like Belem, carved on the margins of great brazilians cultural centers? How relevant is this band for other artists, veterans and young, and what it means today at this rock scene? The research begins in the context in which emerged the band Delinquentes in 1985, and later in the relationship established between the band and the participants of the Belem rock scene. This research uses theoretical studies of Stuart Hall (2014) on identities published in the book The Question of cultural identity to trace a recent historical parallel by the popular music in the State of Para and try to understand how was the formation of a rock tribe in the city of Belem. The research also passes through the understanding of Michel Maffesoli (2014) in the book Le Temps des Tribus to try to assimilate the dialogues between the band and other artists, producers and the fans. The research was conducted through bibliographic records, publications in newspapers, independent publications, the collection of the band, audiovisual records and interviews with current and former members of Delinquentes, producers, journalists, artists and fans. I have made an application of the tripartite methodology by Allan Merriam (1964) to relate these discourses from each author and build, through the language of ethnographic film, an audiovisual product as a final result of this research. The research goes of a audiovisual format to build an analytical discourse on the sound phenomenon. In this research the film is a way to tell the story like an audiovisual research method taking as theoretical architecture a methodology of ethnomusicology. The visual language of the film is based on the fanzine narrative, a very important independent publications for subcultures such as punk. This work proposes a reflection on the importance of Delinquentes band as well as its extensions in the consolidation of the underground scene of the city of Belem.

APA, Harvard, Vancouver, ISO, and other styles

43

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.

Full text

Abstract:

Orientador : Ana Maria de Niemeyer
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-07-18T18:01:02Z (GMT). No. of bitstreams: 1 Kemp_Kenia_M.pdf: 6391211 bytes, checksum: 366870536b6b1c2e3e248a3969154bbe (MD5) Previous issue date: 1993
Resumo: Não informado.
Abstract: Not informed.
Mestrado
Mestre em Antropologia Social

APA, Harvard, Vancouver, ISO, and other styles

44

Lancina, Murillo Josep Lluís. "Patrones de movimiento corporal en la performance musical. Una aproximación antropológica a las escenas barcelonesas de punk, hardcore e improvisación libre." Doctoral thesis, Universitat de Barcelona, 2020. http://hdl.handle.net/10803/671873.

Full text

Abstract:

El objetivo principal de esta tesis es la comprensión del papel de determinados movimientos corporales no instrumentales pero relacionados de una u otra forma con la música en los procesos de identificación colectiva e individual, y en la formación y mantenimiento de un sentimiento de pertenencia a un colectivo de personas unidas principalmente por tener un interés en común en un género musical determinado. Los movimientos, acciones y posturas corporales investigados son los realizados por las personas músicas durante la performance musical, el concierto, excluyendo los movimientos instrumentales productores de sonido. Igualmente se analizan los movimientos realizados por el público tanto como reacción ante la música y el concierto que como conformadores del mismo concierto. Una parte de estos movimientos relacionados con la música presentan un alto grado de automatización. Por otra parte, y en relación con lo anterior, consideramos que todo movimiento corporal puede ser significado por una persona perceptora. Al abordar la actividad motora corporal como criterio en la construcción de una identidad grupal y como catalizadora de un sentimiento de pertenencia a un grupo es ineludible investigar sus condiciones socio-históricas de producción, propagación, adquisición y aprendizaje. El concierto se caracteriza por la contigüidad corporal, productora de un conjunto de interacciones sociales basadas en las relaciones cara a cara. Esta copresencia kinésico- corporal dota de significados y posibilidades afectivas a determinados movimientos y acciones corporales caracterizados especialmente por ser colectivos y seguir normas implícitas. La escena local —en esta investigación las del punk, el hardcore y la improvisación libre— es el contexto sociocultural en el que se desarrolla el concierto, y a la vez el colectivo o comunidad —ya que como exponemos una escena local es, entre otras cosas, un grupo de personas unidas por un gusto y unas prácticas musicales— que será el destinatario último de ese sentimiento de pertenencia, así como un entorno delimitado por criterios identificatorios, entre ellos los relacionados con el cuerpo.
The main objective of this thesis is to comprehend the role of certain non-instrumental body movements related to music in the processes of both collective and individual identification, as well as in the formation and maintenance of a feeling of belonging to a group united mainly by a common musical genre. The movements, actions and body postures investigated are those performed by the musicians during the musical performance, excluding the sound-producing instrumental movements. Likewise, the movements made by the audience are analysed both as a reaction to the music and the concert and as part of the concert itself. Besides, these movements related to music present a high degree of automation. In addition, we consider that all body movement can be signified by the perceiving person. When approaching the corporal motor activity as a criterion in the construction of a group identity and as a catalyst for a feeling of belonging to a group, it is inescapable to investigate its socio-historical conditions of production, propagation, acquisition and learning. The concert is characterized by bodily contiguity, producing a set of social interactions based on face-to-face relationships. This kinetic bodily co-presence endows with meanings and affective possibilities to certain movements and corporal actions characterized especially by being collective and following implicit norms. The local scene - in this particular investigation the punk, hardcore and free improvisation scenes of Barcelona - is the sociocultural context in which the concert takes place, and at the same time the collective or community - since how we expose a local scene is, among other things , a group of people united by a sharing musical taste and musical practices — who will be the ultimate recipient of that feeling of belonging, as well as an environment delimited by identifying criteria, including those related to the body.

APA, Harvard, Vancouver, ISO, and other styles

45

Wilson, Angela 1979. "After the riot : taking new feminist youth subcultures seriously." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81521.

Full text

Abstract:

This thesis argues that in North America since the late 1980s, young women's interest in feminism has been expressed through participation in feminist music subcultures. The project provides an overview of the studies of culture, musical subculture, and gender and music making, as well as an historical context of feminism and a discussion of the relationship between second and third wave feminism.
The first case study explores Riot Grrrl's roots in the DIY activism of DC hardcore punk, its links to the female-oriented indie music scene of Olympia, Washington, and the subculture's use of alternative media. The second study examines efforts to integrate queer politics into third wave feminism through lesbian punk rock music subculture. The final study of electronic feminist punk rock examines how young feminists use alternative media such as zines, internet message boards, web sites, music making, and performance to educate young women about sexual abuse and homophobia.
Analysis of the Riot Grrrl, lesbian punk rock, and electronic feminist punk rock subcultures demonstrates how young women claim spaces for their own feminist politics, even if they have gone relatively undetected by the mainstream culture.

APA, Harvard, Vancouver, ISO, and other styles

46

Leighton, Tristan Daniel. "Contrasting sounds and overlapping scenes: The role of the middle class in punk/metal crossover." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1617318778941129.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Kitson, Michael E. "The Sex Pistols and the London mob." View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/38784.

Full text

Abstract:

Thesis (Ph.D.) -- University of Western Sydney, 2008.
A thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliography.

APA, Harvard, Vancouver, ISO, and other styles

48

Åström, Gustav. "Resan mot Sydneys operahus alternativt chips, öl och spela rock : En kvalitativ studie om hur aspirerande artister beskriver sina drömmar med musiken." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27284.

Full text

Abstract:

Som aspirerande artist är det ett nålsöga att infria sina drömmar med musiken, många försöker men desto färre lyckas. Syftet med denna kvalitativa studie är att undersöka hur aspirerande artister beskriver sina drömmar med musiken. Studien ämnar dessutom besvara huruvida genretillhörighet upplevs korrelera med hur drömmarna beskrivs. För undersökningen har åtta aspirerande artister intervjuats där hälften är pop-artister medan andra halvan består av alternativa artister (punk och indie). Forskningsresultatet visar att pop-artisterna i regel beskriver större drömmar än de alternativa artisterna. Samtliga respondenter delade dock drömmen om att kunna livnära sig på musiken. Däremot tenderade pop-artisterna att drömma om större summor pengar än de alternativa artisterna som istället nöjde sig med att kunna försörja sig på sitt artisteri. Mellan genrerna delades även viljan att ta musikkarriären så långt som möjligt. Resultatet visar dock att det mellan respondenterna råder delade meningar huruvida genretillhörighet korrelerar med hur de beskriver sina drömmar. Hälfterna av popoch de alternativa artisterna upplevde att genretillhörighet haft en påverkan medan övriga respondenter var osäkra eller inte reflekterat över genretillhörighetens påverkan.

APA, Harvard, Vancouver, ISO, and other styles

49

Riley, Keith. ""I Have My Mind!:" U.S.-Sandinista Solidarities, Revolutionary Romanticism, and the Imagined Nicaragua, 1979-1990." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/386879.

Full text

Abstract:

History
M.A.
This paper examines activists in the United States that supported the socialist Nicaraguan government of the Sandinista National Liberation Front and opposed efforts by the Reagan Administration to militarily undermine Nicaragua’s new government during the 1980s. Such scholarship examines the rise of a leftist political coalition organized around supporting Nicaragua’s government and this solidarity movement’s eventual demise after the Sandinistas lost their country’s 1990 Presidential election. The work ultimately asks how did U.S. leftists and progressives of the late 1970s and 1980s perceive Nicaragua’s new government and how did these perceptions affect the ways in which these activists rallied to support the Sandinistas in the face of the Contra War? In answering this question, this paper consults a variety of primary sources including articles from socialist newspapers, the meeting minutes and notes of solidarity organizations, and oral histories with former activists. “I Have My Mind!” also consults cultural sources such as the protest and art benefit flyers and the lyrics to punk rock songs of the period to make its claims. This Masters Thesis argues that U.S. Americans’ solidarity with the Sandinistas relied upon a romanticization of Nicaraguan revolutionary reforms representative of movement participants’ own political aspirations.
Temple University--Theses

APA, Harvard, Vancouver, ISO, and other styles

50

Migliore, Olivier. "Analyser la prosodie musicale du punk, du rap et du ragga français (1977-1992) à l'aide de l'outil informatique." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30029.

Full text

Abstract:

A leur apparition, à la fin des années 1970 et au début des années 1980, le rap, le ragga et le punk français se distinguent substantiellement de la tradition de la chanson française qui demeure intimement liée à la tradition musicale occidentale et au chant. En particulier, l’expression vocale y est plus proche de la parole que du chant, et s'y révèle plus rythmique que mélodique. Cette singularité rend difficile toute analyse musicologique traditionnelle, et les analyses existantes se fondent davantage sur l’analyse du texte et le contexte social que sur la réalisation sonore. L’objet de notre thèse est de proposer une méthode d'analyse musicale assistée par ordinateur de la prosodie musicale à l’œuvre dans ces styles de musiques populaires, et ce, à partir de l’analyse automatique du son. L’extraction automatique des structures rythmiques de la voix à partir de l’analyse du son devrait permettre d’objectiver les propriétés rythmiques de la musique populaire. L’ensemble des analyses permettra d'observer précisément les relations rythmiques qu'entretiennent la voix et la musique, dans le but de caractériser et de différencier des styles de musique populaire. La période choisie (1977-1992) correspond à la sortie des premiers albums de punk en langue française et se clôt avec celle du premier album du groupe Massilia Sound System, pionniers du ragga marseillais. Quinze morceaux ont été choisis, cinq par style, pour leur représentativité de la diversité des premières productions en langue française dans chaque style. La présentation et l'application de notre méthode à des styles différents permettront d'initier l'étude approfondie de la prosodie musicale au sein de musiques vocales dans lesquelles le jeu rythmique prime sur la mélodicité
At their appearance in the late 1970s and early 1980s, rap, ragga and punk french differ substantially from the tradition of French song which remains closely tied to the occidental musical tradition and singing. In particular, the vocal expression is closer to the word of the song, and it reveals more rhythmic than melodic. This uniqueness makes it difficult for traditional musicological analysis, and existing analyzes are based more on the analysis of the text and the social context that the sound production. The purpose of our work is to propose a method of computer-aided musical analysis of musical prosody at work in these popular styles of music, and this, from the automatic analysis of sound. Automatic extraction of rhythmic structures of the voice from the sound analysis should objectify the rhythmic properties of popular music. The analyzes will observe precisely the rhythmic relationship between voice and music, in order to characterize and differentiate the styles of popular music. The chosen period (1977-1992) corresponds to the output of the first punk albums in French and ends with that of the first album of Massilia Sound System, ragga pioneers of Marseilles. Fifteen songs were chosen by five style, for they represent the diversity of the first French-language productions in each style. The presentation and application of our method to different styles will initiate a comprehensive study of the musical prosody in vocal music in which the rhythm bonus game on the mélodicity

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Punk Rock'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles