Dissertations / Theses on the topic 'Rock music – Brazil - History and criticism'

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This dissertation investigates the work of Engenheiros do Hawaii and the emergence of the generation of young people in the 1980s, leading to a discussion on rock and issues involving the young at this time. The research was developed from songs and analysis of the covers of the 18 official discs of the group, in which we can observe various themes, among them the youth and the city. The analysis is organized in three moments. In the first one, he recovers the trajectory of rock, its arrival in Brazil and the formation of the rock generation of the 1980s, as well as marketing issues, cultural circularity and social and political criticism in the songs of Engenheiros do Hawaii observing the tensions experienced in the country during this period. Thereafter, discussions about the cities and the youth are incorporated, bringing representations such as the flâneur, dândi, nihilism, existentialism, experiences of urban violence representations such as the flâneur, dândi, nihilism, existentialism, experiences of urban violence generating fear, insecurity, solitude and anguish. Including also the existential yearnings of the young, their discouragement and the issue of consumption, either alcohol or drugs, attempts to face pain and regrets, forget loves and void relationships. Other issues addressed are the concerns about the expansion of technology, its physical and social impacts, hopelessness in the face of wars and violence
Esta dissertação investiga a obra dos Engenheiros do Hawaii e o surgimento da geração de jovens nos anos 1980, realizando uma discussão sobre o rock e as questões que envolviam os jovens nesse momento. A pesquisa foi desenvolvida a partir de canções e da análise das capas dos 18 discos oficiais do grupo, nas quais é possível observar diversas temáticas, entre elas a juventude e a cidade. A análise encontra-se organizada em três momentos. No primeiro, recupera a trajetória do rock, sua chegada ao Brasil e a formação da geração roqueira dos anos 1980, assim como as questões mercadológicas, circularidade cultural e a crítica social e política presente nas canções dos Engenheiros do Hawaii, observando tensões vivenciadas no país nesse período. Na sequência, incorporam-se as discussões acerca das cidades e da juventude, trazendo representações como o flâneur, dândi, niilismo, existencialismo, experiências de violência urbana, gerando medo, insegurança, solidão e angústia. Incluindo também os anseios existenciais dos jovens, seus desalentos e a questão do consumo do álcool e de drogas, as tentativas de enfrentar as dores e mágoas, esquecer amores e relações vazias. Outras questões abordadas são as inquietudes frente à expansão da tecnologia, seus impactos físicos e sociais, a desesperança frente às guerras e à violência

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present investigation focuses on analyzing some songs produced in the 1980s by the bands Legião Urbana, Titãs, Barão Vermelho and Engineers of Hawaii. The research, through the lenses of pop rock, presents discussions about some cultural, social and political scenarios that were part of Brazil at that time. The idea is to develop "certain cartographies" of the period, from analyzes of the internal structures and contents of the lyrics of these songs. The thesis intends to show the pop rock of the 1980s, as a translating instrument in relation to what some young people (rockers) lived at the time. A part of the Brazilian media of that moment "discovered" this "new" phenomenon and dedicated itself to divulge this musical genre (BASTOS, 2005). The 1980s in Brazil were presented as a period of clear transition, since in that decade a military dictatorship that lasted approximately 20 years ended (RAMOS, 2010). In the music scene a genre gained strength, voice and form: pop rock. As a hypothesis it is possible to argue that it is precisely in the cultural spheres that symbolically the daily relations are configured (LÓTMAN, 1981), that is, in day-to-day practices, space is opened for representations, as well as for the construction of series of languages. According to Lótman (1978), every artistic work is within its own context of producing subjectivity. Barbero (2013) advocates communication as a process, therefore, it is understood that the communicative nature happens in a fluid way, in constant and intertwined movements that transpose in the scope of culture. At that moment there were several dialogues between media, artists and the public, this took place in miniature movements that approached subjects of culture, objects of culture and nature / environment. In this thesis, it is intended to propose how the context of the songs were related to certain processes of exploitation of the different materials of the culture available in Brazil. As theoretical foundation, research of a qualitative nature is mainly used as references of the semiotics of culture, communication and anthropology
A presente investigação se concentra em analisar algumas canções produzidas nos anos de 1980 pelas bandas Legião Urbana, Titãs, Barão Vermelho e Engenheiros do Havaí. A pesquisa, através das lentes do pop rock, apresenta discussões sobre alguns cenários culturais, sociais e políticos que faziam parte do Brasil naquela época. A ideia é desenvolver “certas cartografias” do período, a partir de análises das estruturas internas e dos conteúdos das letras dessas canções. A tese possui a intenção de mostrar o pop rock da década de 1980, como um instrumento tradutório em relação ao que viviam alguns jovens (roqueiros) na ocasião. Uma parte da mídia brasileira daquele momento “descobriu” esse “novo” fenômeno e dedicou-se a divulgar esse gênero musical (BASTOS, 2005). Os anos de 1980 no Brasil se apresentaram como um período de clara transição, pois nessa década acabava uma ditadura militar que havia durado aproximadamente 20 anos (RAMOS, 2010). No cenário musical um gênero ganhava força, voz e forma: o pop rock. Enquanto hipóteses é possível defender que é justamente nas esferas culturais que simbolicamente as relações cotidianas são configuradas (LÓTMAN, 1981), ou seja, nas práticas do dia a dia é que se abre espaço para as representações, bem como para a construção de séries de linguagens. Segundo Lótman (1978), toda obra artística está dentro do seu próprio contexto de produção de subjetividade. Barbero (2013) defende a comunicação como processo, portanto, entende-se que a natureza comunicativa acontece de maneira fluída, em constantes e entrelaçados movimentos que transitam no âmbito da cultura. Naquele momento ocorreram diversos diálogos entre mídias, artistas e público, isso se deu em movimentos miniaturais que aproximaram sujeitos da cultura, objetos da cultura e natureza/ambiente. Na referente tese é pretendido propor como as contexturas das canções estavam relacionadas a certos processos de aproveitamento dos diversos materiais da cultura disponíveis no Brasil. Enquanto fundamentação teórica, a pesquisa de natureza qualitativa serve-se principalmente de referências da semiótica da cultura, comunicação e da antropologia

Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry.

From a mixed methodology perspective that includes ethnology, musicology and cultural anthropology, I argue that, despite initial detachment from folk revivalism, English folk-rock has moved closer to aspects of tradition and historical status and has embraced a revivalist stance similar to that of the folk revivals that occurred earlier in the twentieth century. Whereas revivalism often rejects manifestations of mass culture and modernity, I also argue that the early combinations of folk music and rock music demonstrated that aspects of preservation and commercialisation have always co-existed within this hybrid musical style. English folk-rock, a former progressive rock music style, has emerged in the post-punk era as a world music style that appeals to a broad spectrum of music fans and this audience does not regard issues such as maintenance of authenticity and tradition as key factors in the preservation process. Rock music has remained a stimulus for further change in folk music and has enabled English folk-rock to become regarded as popular music by a new audience with diverse musical tastes. When folk music was adapted into rock settings, the result represented a particular identity for folk music at that time. In a similar way, as folk music continues to be amalgamated with rock and other popular music styles, or is performed in musical settings representing new cultures and ethnicities now present in the United Kingdom, it becomes updated and relevant to new audiences. From this perspective, I propose that growth in the popularity of British folk music since the early 1970s can be linked to its performance as English folk-rock, to its connections with culture and music industry marketing and promotion techniques, and to its inclusion as a 1990s festival component presented to audiences as part of what is promoted as world music. Popularity of folk music presented at world music festivals has stimulated significant growth in folk music audiences since the mid-1990s and consequently the UK is experiencing a new phase of revivalism - the third folk revival.

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.

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.

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.

This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.

Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2009.
The aim of this study is to examine the rise of Afrikaans rock music and the literary status of Afrikaans rock lyrics, with Fokofpolisiekar as example. An investigation is done into how the specific sociopolitical context within which Afrikaans rock music developed manifests in lyrics and musical style. The implications of Afrikaans rock with regards to the identity of Afrikaner youth in the new millennium are also explored. A case study of the Afrikaans punk rock group Fokofpolisiekar is done by way of demonstration of this interdisciplinary and contextual investigation. Not only the formation and impact of the group are examined, but a considerable section of the thesis is dedicated to the analysis and interpretation of this group’s lyrics, which are viewed and explored from a literary point of view. In this process certain questions regarding the position of lyrics in the Afrikaans literary system comes under scrutiny. The analysis and interpretation of the lyrics of Fokofpolisiekar are therefore aimed towards examining the literary status of this group’s lyrics. It will be proved that the sociopolitical context within which Fokofpolisiekar’s lyrics came to be formulated, impacted on the character and themes thereof. The thematic struggle with issues like liberation (redemption) and identity in the lyrics are shown to bear relation to the sociopolitical context of the Afrikaner youth after the Afrikaner’s loss of power in 1994 and the postmodern condition at the turn of the millennium. This postmodern condition is characterized by the continuing fragmentation of identity. The conclusion is made that Afrikaans popular music sets up a space within which new ideas with regards to ‘truths’ of identity can be formulated. In other words, the punk rock music of Fokofpolisiekar offers an opportunity for the re-articulation of Afrikaner identity. By incorporating the polysistem theory (and other relevant theories) in investigating the creation and reception of Fokofpolisiekar’s lyrics, it is shown that the Afrikaans literary system holds a place for Afrikaans lyrics. Although similar, lyrics should not be regarded as synonymous to poetry. Seeing that the creation and reception thereof differs from that of other literary forms, I argue that lyrics are lyrics and should be regarded as such in order for it to come to its full right in literary study.

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.

Orientador: Lenita Waldige Mendes Nogueira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A pesquisa consiste em discutir a inserção da mulher no campo da composião musical erudita brasileira na segunda metade do século XX através do estudo de caso. Foram escolhidas cinco compositoras: Maria Helena Rosas Fernandes (1933), Joey de Oliveira (1936), Marisa Rezende (1944), Vânia Dantas Leite (1945) e Denise Garcia (1955). A partir da metodologia da história oral, baseada principalmente em coleta de dados, entrevistas e análise de documentos primários, juntamente com a metodologia de pesquisa de história de conteúdo, caracterizada pela pesquisa bibliográfica fundamentalmente, foram elaboradas as trajetórias de cada compositora, enfocando a composição musical em suas vidas. Trabalhamos com alguns conceitos específicos para realização das análises e da reconstrução do campo, tais como: campo e dominação masculina desenvolvidos por Pierre Bourdieu e de geração por Karl Mannhein. Procuramos compreender a maneira como essas mulheres se tomam compositoras dado uma realidade caracterizada pela quase ausência feminina nesse campo, apesar das inúmeras conquistas da mulher durante o século XX, no Brasil e no mundo
Abstract: This research aims to analyze woman inclusion in the Brazilian classical music composition field in the second half of the twentieth century, through the case investigation. Five composers were chosen: Maria Helena Rosas Fernandes (1933), Joey de Oliveira (1936), Marisa Rezende (1944), Vânia Dantas Leite (1945) and Denise Garcia (1955). From the oral history methodology, based primary in data collection, interviews and analysis of primary documentation, together with the content history research methodology, based in bibliographic research, the biographies of each composers were elaborated, focusing the musical composition in their lives. We worked with some specific concepts for the realization of the analysis and the field re-construction, such as Field and Male Domination developed by Pierre Bourdieu and Generation by Karl Mannhein. We try to understand the way this women became composers inside a reality characterized by an almost female absence in this field, spite the incalculable woman conquests through the twentieth century, in Brazil and the World
Mestrado
Musica
Mestre em Música

This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.

Orientador: Eduardo Augusto Ostergren
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho constitui-se de um resgate do bailado Lambe-lambe de Luiz Cosme através de uma edição crítica de seu manuscrito. A pesquisa se desenvolveu através de uma abordagem teórica que conduziu à compreensão dos aspectos histórico-musicais do compositor e de sua obra. Após esta etapa inicial, foi realizado o estudo que direcionou a escolha do tipo de edição a ser adotada. Como complemento deste trabalho foram confeccionada stodas as partes instrumentais com base na edição apresentada
Abstract: The present work is a revision of Luiz Cosme's "ballet scene" Lambe-lambe through a critical edition of the original manuscript score. The research process was developed on the basis ot a theoretical study that led to an understanding ot the historical and musical aspects ot the composer's lite and works. This initial study was essencial in order to guide in the type ot edition to be adopted. As a complement to this work the various instrumental parts have been extracted from this edition and are included herewith
Mestrado
Musica
Mestre em Música

Orientador: Jean Marcel Carvalho França
Banca: Paulo Knauss
Banca: José Adriano Fenerick
Resumo: No decorrer do século XIX, a música e o teatro lírico ocuparam lugar de destaque no cenário musical do Rio de Janeiro. Após o desembarque da corte portuguesa, em 1808, a cidade assistiu a inauguração de novos teatros e passou a receber a presença de músicos e companhias líricas estrangeiras, possibilitando um contato com óperas e peças musicais de sucesso na Europa. Embora apresentando um leve declínio entre as décadas de 30 e 40 do oitocentos, a atividade musical continuou ocupando um espaço privilegiado na sociedade fluminense, figurando também nas páginas de diversos periódicos do período. Em tais textos, os escritores e colunistas abordavam os mais variados relacionados à música, desde a programação teatral até a descrição do ambiente dos teatros e comportamento dos espectadores. Entre as principais tópicas, estava a preocupação com o desenvolvimento de uma música de inspiração nacionalista, ideal que culminou com a fundação da Imperial Academia de Música e Ópera Nacional em 1857. No âmbito dessa instituição, um número significativo de óperas nacionais foi levada aos palcos da cidade. É objetivo desse trabalho, portanto, analisar os artigos e crônicas acerca da música publicados em jornais e revistas oitocentistas, juntamente com os libretos de óperas nacionais produzidas no período, buscando identificar os principais tópicos presentes nestes textos; isto é, identificar os principais critérios de análise e expectativas dos homens de cultura do período em relação à atividade musica, e, principalmente, à produção de uma música de inspiração nacionalista
Abstract: During the nineteenth century, music and lyric theater occupied a prominent place in the music scene in Rio de Janeiro. After the landing of the Portuguese court in 1808, the city saw the opening of new theaters and went on to receive the presence of foreign musicians and opera companies, providing a contact with opera and musical theater success in Europe. Although showing a slight decline between 30 and 40 decades of the eighteenth hundred, musical activity continued to occupy a privileged place in fluminense society, also appearing in the pages of several journals of the period. In such texts, the writers and columnists addressed various aspects related to music, since programming of theaters even description of the theatrical environment and viewing behavior. Among the main topics was the concern with the development of a music-inspired nationalist ideal, that culminated in the founding of the Imperial Academy of Music and National Opera in 1857. Within this institution, a significant number of national opera was set up to the stage of the city. It is the aim of this work, therefore, to examine the articles and chronicles about the music published in nineteenth-century newspapers and magazines, along with the librettos of national operas produced in the period, seeking to identify the main topics contained in these texts; that is, identify the mains rules for analysis and expectations of intellectual of the period in relation to musical activities, and especially the production of a nationalistic music
Mestre

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
No decorrer do século XIX, a música e o teatro lírico ocuparam lugar de destaque no cenário musical do Rio de Janeiro. Após o desembarque da corte portuguesa, em 1808, a cidade assistiu a inauguração de novos teatros e passou a receber a presença de músicos e companhias líricas estrangeiras, possibilitando um contato com óperas e peças musicais de sucesso na Europa. Embora apresentando um leve declínio entre as décadas de 30 e 40 do oitocentos, a atividade musical continuou ocupando um espaço privilegiado na sociedade fluminense, figurando também nas páginas de diversos periódicos do período. Em tais textos, os escritores e colunistas abordavam os mais variados relacionados à música, desde a programação teatral até a descrição do ambiente dos teatros e comportamento dos espectadores. Entre as principais tópicas, estava a preocupação com o desenvolvimento de uma música de inspiração nacionalista, ideal que culminou com a fundação da Imperial Academia de Música e Ópera Nacional em 1857. No âmbito dessa instituição, um número significativo de óperas nacionais foi levada aos palcos da cidade. É objetivo desse trabalho, portanto, analisar os artigos e crônicas acerca da música publicados em jornais e revistas oitocentistas, juntamente com os libretos de óperas nacionais produzidas no período, buscando identificar os principais tópicos presentes nestes textos; isto é, identificar os principais critérios de análise e expectativas dos homens de cultura do período em relação à atividade musica, e, principalmente, à produção de uma música de inspiração nacionalista
During the nineteenth century, music and lyric theater occupied a prominent place in the music scene in Rio de Janeiro. After the landing of the Portuguese court in 1808, the city saw the opening of new theaters and went on to receive the presence of foreign musicians and opera companies, providing a contact with opera and musical theater success in Europe. Although showing a slight decline between 30 and 40 decades of the eighteenth hundred, musical activity continued to occupy a privileged place in fluminense society, also appearing in the pages of several journals of the period. In such texts, the writers and columnists addressed various aspects related to music, since programming of theaters even description of the theatrical environment and viewing behavior. Among the main topics was the concern with the development of a music-inspired nationalist ideal, that culminated in the founding of the Imperial Academy of Music and National Opera in 1857. Within this institution, a significant number of national opera was set up to the stage of the city. It is the aim of this work, therefore, to examine the articles and chronicles about the music published in nineteenth-century newspapers and magazines, along with the librettos of national operas produced in the period, seeking to identify the main topics contained in these texts; that is, identify the mains rules for analysis and expectations of intellectual of the period in relation to musical activities, and especially the production of a nationalistic music

In 1920s-30s São Paulo, Brazil, leaders of the vanguard artistic movement known as “modernism” began to argue that national identity came not from shared values or even cultural practices but rather by a shared way of thinking, which they variously designated as Brazil’s “racial psychology,” “folkloric unconscious,” and “national psychology.” Building on turn-of-the-century psychological and anthropological theories, the group diagnosed Brazil’s national mind as characterized by “primitivity” and in need of a program of psychological development. The group rose to political power in the 1930s, placing the artists in a position to undertake such a project. The Symphony of State charts this previously unexamined intellectual project and explains why elite leaders believed music to be the most-promising strategy for developing the national mind beyond primitivity. In 1935, they founded the São Paulo Department of Culture and Recreation in order to fund music education, train ethnomusicologists, commission symphonies, and host performances across the city. Until now, historians of twentieth-century Brazil have praised music as a critical site for marginalized groups to sound out political protest. But The Symphony of State shows the reverse has also been true: elite groups used music as a top-down civilizing project designed to naturalize racial hierarchies and justify class difference. The intellectual history portion of the dissertation turns on archival sources, newspaper accounts, personal correspondence, modernist literature, and the period’s scholarly journals. The examination of literary form, discourse analysis, and marginalia lends depth to a carefully-documented study of ideas. Then, The Symphony of State brings to bear an innovative reading of ethnographic field books, vinyl records, and music scores to show that the department’s scholarship and symphonic compositions alike furthered the narrative of a nation jeopardized by primitivity. What is more, the department’s composers employed musical properties such as harmony and dissonance as metaphors to convince listeners that a harmonious society required the maintenance of racial and class hierarchies. In bringing further clarity to the department’s intellectual project, the sections featuring music analysis speak to the value of reading music as an historical text. The dissertation accomplishes multiple goals. It uncovers the theory of national psychology driving the musical institution; examines ethnographic material to further understand racial and regional prejudice in the period; and analyzes concert music commissioned and performed by the municipal department. The examination of the musical institution reveals a moment in Brazilian history in which national identity was constructed atop the notion of a shared psychology and in which modernity was believed to come with the musical tuning of the body politic and the training of its mind.

如果將崔健的專輯《新長征路上的搖滾》視為中國搖滾樂的正式開端，中國搖滾樂儼然已有近三十年的歷史。作為一種西方另類文化產品的追隨者，中國搖滾樂並沒有簡單複製西方搖滾樂史；作為一種流行次文化現象，中國搖滾樂生動地反映和再現着中國社會的面貌及其歷史變遷，而這一在中國文化語境下的反映和再現則正是中國搖滾樂作為一種風格的原創性所在。本文試圖探討中國搖滾樂中的「中國元素」。為了能夠縱觀這三十年的歷史，筆者特意挑選崔健、唐朝樂隊、二手玫瑰樂隊作為三個「十年」的突出代表來進行考察。
作為中國搖滾樂的先驅者，在崔健的音樂作品中保留著一種「紅色情結」，一些革命年代的印記依舊會在他的歌曲中顯現；另外，崔健的一句「一無所有」喊出了那一代青年人的心聲，這種直白地表達在當時不自覺地帶有了一種比較嚴肅的政治含意，也因此使中國搖滾樂的命運同西方搖滾樂一樣，最先以一種反叛的不安分子形象示人；唐朝樂隊是中國搖滾樂「黃金時代」的代表，對中國古代輝煌歷史時期的追憶，加之重金屬音樂風格的衝擊力，使其再造了一個理想的中國陽剛之氣──「文武雙全」；創新性地將搖滾和東北二人轉風格元素相結合使二手玫瑰樂隊成為近期中國搖滾樂的一朵奇葩， 他們既娛樂又嚴肅的反諷風格豐富了中國搖滾樂的語匯。通過對這三例的並置對比，本文意在論證三十年間中國搖滾樂中的「中國性」在體現方式上的微妙變化以及其風格演變的過程。
Having a history of nearly thirty years, Chinese rock is not only a term that indicates a regional genre, but also a specific music style. Its originality lies in its intimate relation with the particular social and economic conditions of China. This thesis focuses on “Chineseness“ in Chinese rock, which covers musical characteristics, political identity, traditional and ancient culture and regional performing arts. In order to demonstrate its historical development, I choose and discuss three musical acts from each decade in Chinese rock history. They are Cui Jian in the 1980s, Tang Dynasty in the 1990s and Second Hand Rose after 2000.
Widely regarded as the forerunner of Chinese rock, Cui Jian’s music has a “red“ ideology; meanwhile, his brave expression of the inner youth voice of that generation also give Chinese rock a rebellious image from the very beginning. Tang Dynasty represents Chinese rock’s “golden age“. Through invoking a glorious period in China’s ancient history, they build an ideal Chinese masculinity in their style of heavy metal. Second Hand Rose innovatively absorbs elements from secular performing art in their music, criticizing new societal conditions in an ironic way. This thesis concludes with the view that the expression of “Chineseness in Chinese rock has been continually transforming throughout the decades, and those Chinese rock musicians’ attitudes toward an “ideal“ conceptualization of China have likewise also gradually changed.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Ren, Shaoren.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references and discographies.
Abstracts also in Chinese.
Abstract --- p.ii
Table of Contents --- p.iv
List of Figures --- p.v
Chapter Chapter I --- Introduction --- p.1
Initial Research and Methodology --- p.2
Chinese Rock in Historical Context --- p.5
The “Chinese in Chinese Rock --- p.6
Literature Review --- p.9
Limits of This Study --- p.16
Thesis Outline --- p.17
Chapter Chapter II --- Cui Jian and Chinese Rock’s First On the New Long March --- p.19
Alternative Military Song on the New Long March --- p.20
“On a Stretch of Exhausted Earth, We Harvest Meager Hopes“ --- p.28
Chapter Chapter III --- Tang Dynasty and Chinese Masculinity --- p.39
China Calling for Heavy Metal --- p.40
Tang Dynasty and Chinese Masculinity --- p.43
Patriotism and Idealism --- p.57
Chapter Chapter IV --- Second Hand Rose and Ironic Aesthetic --- p.62
Spring Festival Gala and Twirling Duet --- p.64
Twirling Duet Rock --- p.68
“Big Bro, You’re Playing Rock, But What the Heck For?“ --- p.72
Chapter Chapter V --- Conclusion --- p.83
Maintaining Chineseness --- p.83
Shifting Styles of Chineseness and Understanding “Ideals“ --- p.86
Bibliography --- p.89

This thesis introduces the reader to rock music in Durban from 1963 to 1985, tracing the development of rock in Durban from rock'n'roll to hard core punk. Although the thesis is historically orientated, it also endeavours to show the relationship of rock music in Durban to three central themes, viz: the relationship of rock in Durban to the socio-political realities of apartheid in South Africa; the role of women in local rock, and the identity crisis experienced by white, English-speaking South Africans. Each of these themes is explored in a separate chapter, with Chapter Two providing the bulk of historical data on which the remaining chapters are based. Besides the important goal of documenting a forgotten and ignored rock history, one central concern pervades this work. In every chapter, the conclusions reached all point to the identity crisis experienced both by South African rock audiences and the rock musicians themselves. The constant hankering after international (and specifically British) rock music trends both by audiences and fans is symptomatic of a culture in crisis, and it is the search for the reasons for this identity crisis that dominate this work. The global/local debate and its relationship to rock in South Africa has been a useful theoretical tool in the unravelling of the identity crisis mentioned above. Chapter Four focusses on the role of women in the Durban rock scene and documents the difficulties experienced by women who were rock musicians in Durban. This is a small contribution to the increasing field of womens' studies, and I have attempted to relate the role of women in rock in Durban to other studies in this field.
Thesis (M.Mus.)-University of Natal, Durban, 1995.

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"

M.Ed. (Education)
During the last two decades there has been a definite lowering of moral standards among the children of the West. This also pertains to the youth in South Africa. Among the many influences the child experiences in society, rock music, with its themes of sex, drugs, satanism, rebellion, materialism, secular humanism, suicide, nihilism, hedonism, blasphemy and profanity is possibly the most negative. Add to the above-mentioned, subliminal mind control and backward masking and it becomes clear why the Christian educator and the Christian parent must address the problem of rock and roll. Furthermore, rock music has directly or indirectly been responsible for much of the anti-social behaviour of present day youth. Tragically, modern day society is responsible for promoting the rock culture (with the help of modern technology), by making available to the youth of today records, videos and magazines, without realising the spiritual and moral damage they are causing. The modern day music entrepreneur has motives that are not honourable and not Christian as it is m?ney that makes the music go around. A very extensive literature study confirmed the above. As norms and values differ from culture to culture, the Christian norm was chosen as the irrevocable absolute norm rooted in the Word of God, to judge the morals upheld by the propagators of rock and roll. On the basis of the literature study done, an empirical investigation, formulating items obtained from the study for inclusion in the questionnaire, was conducted. The sample consisted of English speaking boys and girls in standard 7 and standard 9 from four high schools on the near East Rand. Cluster sampling was done by randomly selecting a class group from each of the standard 7 and standard 9 class groups of the four high schools concerned...

Text in Afrikaans
Die doel van hierdie studie is om op die liedtekste van die kunstenaars, Bok van Blerk, Fokofpolisiekar, The Buckfever Underground (en Toast Coetzer) en Karen Zoid te fokus en om te bepaal wat hulle funksie in die eietydse Afrikaanse kultuurlandskap is, en wat hulle rol in die definiëring van kulturele identiteit is. In hierdie studie sal daar ook klem gelê word op die sosiopolitieke faktore wat tot die opbloei van die Afrikaanse musiekbedryf gelei het. Deur die analise van dié kunstenaars se lirieke, sal ek vasstel of hulle wel betekenisvolle werk van literêre gehalte lewer. Ek het spesifiek hierdie musikante gekies omdat hulle jong eietydse musikante is.
The purpose of this study is to focus on the song texts of artists, Karen Zoid, Fokofpolisiekar, The Buckfever Underground (and Toast Coetzer) and Bok van Blerk and to determine their function in today’s cultural reality, and whether these musicians and their music have an influence on today’s youth and their search for a Cultural Identity. This study will also focus on the socio-political factors that led to the rise of the Afrikaans Music Industry. By analyzing these artists’ lyrics, I want to determine whether they are significant works of literary quality. These musicians were chosen because they are regarded as young contemporary musicians.
Afrikaans & Theory of Literature
M.A. (Afrikaans)

Abstract in German and English
Die Masterarbeit untersucht die 20 meist gespielten Hillsong-Lieder aus dem Jahre 2016 in Deutschland. Untersuchte Aspekte sind die Hauptthemen der Liedtexte, die Sänger- / Adressat-Perspektive, die Einordnung in das gesamtbiblische Narrativ sowie die Funktionen der Lieder innerhalb des Gottesdienstes. Anhand dieser Aspekte wird der Kritik, die an die Lieder gerichtet wird, begegnet. Kritisiert wird unter anderem die theologische Substanzlosigkeit der Lieder, das verzerrte Gottesbild, fehlende Themen wie Leid, Klage, Soziale Gerechtigkeit oder die Fokussierung auf das Individuum anstatt auf Gott. Die Arbeit weist nach, dass die Kritik an mangelndem Inhalt erechtfertigt ist. Die Lieder kommunizieren darüber hinaus ein einseitiges Gottesbild, das Jesus im Fokus hat. Es wird dargestellt, dass die Themen Leid, Klage und Soziale Gerechtigkeit unterrepräsentiert sind. Auf der grammatikalischen Ebene weisen die Lieder einen starken Fokus auf das Individuum auf. Durch die Untersuchung der Funktionen wird jedoch gezeigt, dass die meisten Lieder trotz einer Ich-Perspektive stark gemeinschaftsstiftend sind. Das liegt vor allem an der koinonialen Funktionen sowie der Kombinationen von diakonischer und seelsorgerlicher Funktion mancher Lieder. Neben diesen Funktionen übernehmen die Lieder oft noch die kerygmatische, missionarische und pädagogische Funktion.
The master thesis examines the 20 most played Hillsong songs from 2016 in Germany. Aspects examined are the main themes of the lyrics, the singer-/ addressee perspective, the classification into the biblical narrative as well as the functions of the songs within the worship service. Based on these aspects, the criticism directed at the songs is met. Criticized are, among other things, the theological lack of substance of the songs, the distorted image of God, missing topics like suffering, lamentation, social justice or the focus on the individual instead of God. The work proves that the criticism of lack of content is justified. In addition, the songs communicate a one-sided image of God that strongly focuses on Jesus as an addressee. It shows that the issues of suffering, lamentation and social justice are nderrepresented. On the grammatical level, the songs have a strong focus on the individual. Examining the functions, however, shows that most of the songs, despite a first-person perspective, are strongly community-building. This is mainly due to the koinonial function and the combinations of diaconal and pastoral function of some songs. In addition to these functions, the songs often take on the kerygmatic, missionary and pedagogical function.
Practical Theology
M. Th. (Practical Theology)

This study examines the public relations efforts surrounding the popular music group the Beatles’ first United States tour in February of 1964. The evidence, acquired through the composition of a thorough case study of events, suggests that a combination of factors is responsible for their unprecedented international success: the group’s innate talent (both in terms of their craft and their ability to interact with key and intercessory publics); cultivation and maintenance of a specifically-designed image emphasizing their physical appearance, musicianship, wit, and working class background; understanding by the group’s management of the necessity of record label and major media support; the expert knowledge by said management of the media landscape, publicity opportunities, and a keen sense of appropriate timing by which significant publicity is attained.
Department of Journalism