Relevant bibliographies by topics / Rock music Rock music Popular music / Dissertations / Theses
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Dissertations / Theses on the topic 'Rock music Rock music Popular music'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Behr, Adam. "Group identity : bands, rock and popular music." Thesis, University of Stirling, 2010. http://hdl.handle.net/1893/3051.

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Since rock became the subject of academic study, its attendant ideology has been scrutinised and its mythical and Romantic components exposed. Largely absent from this account has been a thorough analysis of the phenomenon of the ‘band’. The role of individual acts and the wider contexts in which they worked has been discussed at the expense of an examination of an important form of music-making. This thesis seeks to address that gap. Using a mixture of literary research and ethnography, I present an overall picture of the band as a modus operandum, charting its evolution during the emergence
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2

Schiffner, Wolfgang. "Einflüsse der Technik auf die Entwicklung von Rock/Pop-Musik." Hamburg : [Universität Hamburg], 1991. http://books.google.com/books?id=mz1FAAAAMAAJ.

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3

my, a. trainer@curtin edu, and Adam Trainer. "Rock n Roll Cinema." Murdoch University, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061019.151505.

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Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts bel
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4

Silva, Wlisses James de Farias. "Heavy metal no Brasil: os incômodos perdedores (década de 1980)." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-12112014-111119/.

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presente estudo pretende analisar o Heavy Metal no Brasil nos anos 1980, historiando sua origem, bem como sua chegada ao Brasil e a forma como esse estilo foi absorvido pela juventude brasileira, destacando suas especificidades. Ao historiar esse processo, daremos ênfase ao panorama político, econômico e social do país no período e suas articulações com o movimento heavy metal, procurando responder até que ponto essas condições influenciaram a estética desse movimento, e como ele foi adaptado e absorvido no panorama cultural brasileiro, influenciando-o por sua vez<br>This study aims to analyze
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5

McLaughlin, Noel. "Pop and the periphery : nationality, culture and Irish popular music." Thesis, Ulster University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326322.

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This thesis seeks to consider the relationship between 'rock' and 'Irishness' • between transnational pop and the nation-state • challenging the 'orthodox' view that Irish rock embodies uniquely Irish characteristics. It is about Irish popular music and identity and is primarily concerned with the relationship between culture and meaning. It argues that the study of popular music as 'text' is important to the more general study of culture (even though the notion of text in popular music is problematic). The thesis seeks to explore how meaning is made in popular music culture across a shifting
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6

Lebrun, Barbara. "The constitution of an'alternative'music culture in French rock music, 1981-2001." Thesis, University of Southampton, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269581.

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7

Branch, Andrew. "Social mobility, masculinity and popular music : the case of glam rock." Thesis, University of East London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533002.

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Since its emergence in the early seventies, glam rock has been theoretically categorized as a moment in British popular culture in which essentialist ideas about male gendered identity in particular were rendered problematic for a popular music audience. In providing both a discursive reading of glam during the period 1971-1974 and new research on glam's influence on its male working-class fans, I argue that whilst this reading of glam is valid, insufficient attention has been given to an examination of the relevance of social mobility vis-ä-vis the construction of self-identity in relation to
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8

Russey, Steven M. "Junior high school students' perception of the messages conveyed through the lyrics of rock music." Scholarly Commons, 1997. https://scholarlycommons.pacific.edu/uop_etds/2314.

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The purpose of this study was to discover whether or not the accompaniment of a lyric sheet while listening to rock music would aid a student's correct identification of the message conveyed by that song. Participants included one 7th and one 8th grade class of "gifted" students (N = 62). Other elements examined involved students' judgment of the messages as negative or positive, as well as the tonality of each song as pleasant or unpleasant and how these judgments related to correct or incorrect identification of the messages. Results indicated that there was no statistically significant diff
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9

Burns, Robert, and n/a. "Transforming folk : innovation and tradition in English folk-rock music." University of Otago. Department of Music, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080701.132922.

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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-existe
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10

Shea, Nicholas Jordan. "Ecological Models of Musical Structure in Pop-rock, 1950–2019." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu158755665247824.

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11

Melendez, Elisa M. "For Those About to Rock: Gender Codes in the Rock Music Video Games Rock Band and Rocksmith." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3685.

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This dissertation explores gender codes within the intersection of two American pop culture staples, video games and rock music, by conducting a feminist analysis of two video games (Rock Band and Rocksmith). Both video games and rock music have had their share of feminist academic critique: Musicologists point out how lack of canonical inclusion, gendered attitudes towards instruments, and messages from supporting media create an unwelcome environment for women to pursue a rock music career. Game studies scholars have examined similar attitudes, including a lack of women represented in both t
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12

Welch, Nathanael C. ""All That Noise, and All That Sound:" Tonal Ambiguity and Melodic-Harmonic Disconnect in the Music of Coldplay." Youngstown State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1442761317.

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13

Kerr, Christopher Reid. "Approaching popular music in the field of English : critical boundaries, remediation, and performance theory /." Online version, 2008. http://content.wwu.edu/cdm4/item_viewer.php?CISOROOT=/theses&CISOPTR=291&CISOBOX=1&REC=2.

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14

Jones, Michael Lewis. "Organising pop : why so few pop acts make pop music." Thesis, University of Liverpool, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367134.

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15

Kavka, Daniel Robert. "Young Americans to Emotional Rescue: Selected Meetings Between Disco and Rock, 1975-1980." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277322797.

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16

Cottin, Maxime. "Le maximalisme dans la Popular Music : L'exemple de King Crimson et du rock progressif." Thesis, Nice, 2014. http://www.theses.fr/2014NICE2045/document.

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L'objectif de la thèse est d'établir une physionomie du maximalisme musical présent dans le répertoire de la popular music, plus précisément celui du Rock Progressif au travers l'exemple de King Crimson. Je me suis appliqué, pour ce faire, à identifier quels sont les éléments de l'idiome rock soumis au processus de maximalisation, et quels éléments, présents dans le langage du Rock Progressif, sont empruntés à des genres musicaux extérieurs à la popular music.La thèse comporte deux grands chapitres. Le premier explore les techniques d’écriture et l’esthétique de la popular music, en s’intéress
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Bascom, Cathleen Chittenden. "Jesus and George Harrison's gift preaching with the Children of the Beatles /." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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18

Lacasse, Serge. "'Listen to my voice' : the evocative power of vocal staging in recorded rock music and other forms of vocal expression." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369881.

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19

Simmonds, Anthony Robert. "An analysis and evaluation of the concept of authenticity within popular music, using country-rock music as an exemplar genre." Thesis, University of West London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539386.

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20

Davis, Sean Michael. "Radiohead and Identity: A Moon Shaped Pool and the Process of Identity Construction." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/543004.

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Music Composition<br>Ph.D.<br>This dissertation synthesizes critical theories of identity with music theoretical analysis to explore how listeners use popular music as a means of identity construction. Focusing on Radiohead’s 2016 album A Moon Shaped Pool, the dissertation investigates the various sociological and musical frameworks that illuminate how the songs interact with listener expectations in the process of interpretation. Work on popular music and personal expression is already present in sociology, anthropology, musicology, and other disciplines, though that work rarely engages the c
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21

DiGiallonardo, Richard L. (Richard Lee). "Musical Borrowing: Referential Treatment in American Popular Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.

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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 advanceme
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22

Magi, Érica Ribeiro. "Metrópoles em cenas: o rock em São Paulo e no Rio de Janeiro nos anos 1980." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-06062017-161311/.

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Analiso a constituição e o desenvolvimento das cenas do \"rock paulista\" e do \"rock carioca\" na década de 1980, no intento de compreender quais relações foram estabelecidas com suas metrópoles de origem, com os influxos estrangeiros e com a forte tradição da música popular brasileira construída entre os anos de 1930 e 1970. Objetivo também entender que ideia de \"rock brasileiro\" consagrou-se ao final do período, quais elementos foram incluídos e excluídos desta categoria. Assim, desvendam-se como as dinâmicas social, cultural e econômica de cada cidade imprimiram uma dicção própria às cen
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23

Morrow, Guy Richard. "Managerial creativity a study of artist management practices in the Australian popular music industry /." Phd thesis, Australia : Macquarie University, 2006. http://hdl.handle.net/1959.14/42648.

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Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2006.<br>Bibliography: p. 377-385.<br>Introduction -- Literature review, discussion of methodologies and research orientation -- "20% of nothing": Australian rock music management -- Australian country music management -- Australian pop music management: the third party -- Conclusion: managerial creativity.<br>Artist managers 'create' careers for musicians, yet little has been written about their creativity in the academic domain. Thus this thesis develops the notion of managerial creativity.
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24

Wurster, Jessica. ""Taking 'girly music' seriously" : femininity and authenticity in indiepop." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29527.

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Indiepop was, and is, a musical genre that coalesced around UK punk and post-punk in the early 1980s. From punk, indiepop borrowed certain ideas about the politics of cultural production. What differentiated it from punk was its sound: a decidedly pop emphasis on short, melodic song structures and seemingly simple instrumentation. In embracing independent production, indiepop staked a claim for subculture authenticity over the inauthentic mass products of the mainstream music industry. Yet the defining musical elements were characteristic of the historically feminine pop idiom. The result was
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25

Warner, Simon. "Rock and the written word : essays on popular music, literature, language, and cultural history." Thesis, University of Leeds, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550346.

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This thesis gathers work on a number of popular music-related areas but with connecting themes and threads. The relationship of the Beat Generation writers of the 1950s to the popular music culture that followed is explored and the connections that were forged between that gathering of anti-establishment novelist and poets and the counterculture that would take shape in the 1960s are investigated. Chapters reflecting on Beat activity and its association with the rise of rock'n'roll, the emergence of the Beatles and its continuing impression on performers from . the post-Sixties period are incl
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26

Grecu, Diana-Andreea. "Popular Culture and Protest-Contemporary Protest Soundtrack : An Analysis of The Billboard Year End Rock Charts." Thesis, Stockholms universitet, Institutionen för mediestudier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-120365.

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Display of disagreement in a public space under the form of strikes, rallies and not only, is not the sole form of protest. Popular culture can easily be used to send messages of discontent. The paper focuses on popular music by looking at one of the most representative music charts in the world: The Billboard Chart. By screening the Year End Billboard Rock Chart for a period of 5 years the paper tries to identify songs that can be labelled as protest songs and see what they are protesting against, what themes they address, what are their characteristics and how are the messages transmitted in
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27

Helb, Colin. "Use and Influence of Amateur Musician Narratives In Film, 1981-2001." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1245445172.

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28

Kjellander, Eva. "Together we can rock´n´roll : Status Quo- en studie av ett rockbands karriär." Thesis, Växjö University, School of Education, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-641.

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<p>The main purpose of this essay is on one hand to try to find and explain the formula of success of the rock group Status Quo, and on the other to elucidate and explain the foundation and essence in the music made by Status Quo, but also to study how, if and why the foundation and essence have changed over the years. The method of investigation is partly based on a musical analysis of three albums from three different periods: Hello! (1973), Ain´t Complaining (1988) and Heavy Traffic (2002), and partly on a sociological study of the group’s career between 1962 and today, 2005.</p><p>The firs
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Fernandes, Victor Guilherme Pereira. "Um passo à frente: história social de um rock brasileiro." Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/3644.

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Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-03-10T19:46:54Z No. of bitstreams: 1 victorguilhermepereirafernandes.pdf: 1292882 bytes, checksum: 8b61ce5c7104ee1a94ccf4ca8b9b2b22 (MD5)<br>Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-03-13T19:31:32Z (GMT) No. of bitstreams: 1 victorguilhermepereirafernandes.pdf: 1292882 bytes, checksum: 8b61ce5c7104ee1a94ccf4ca8b9b2b22 (MD5)<br>Made available in DSpace on 2017-03-13T19:31:32Z (GMT). No. of bitstreams: 1 victorguilhermepereirafernandes.pdf: 1292882 bytes, checksum: 8b61ce5c7104ee1a94cc
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Alberto, Rita Sofia Grácio. "Gender distorting genre distorting gender : exploring women's rock musicking practices in contemporary Portugal." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/33397.

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This work explores the everyday uses of rock music by women rock musicians, fans and DJs (amateurs), in a specific place (Portugal) and time (1990s-2014). Drawing on the work in the two main fields of music sociology and gender studies and its performative perspective to both gender and music (but also taking contributions from techno-feminist studies, science and technology studies, sociology of work, leisure and sports), this research takes a ‘music-in-action’ approach. This approach understands music as a social activity, as a network of connections between people, materials, discourses and
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Souza, Lucas Marcelo Tomaz de. "Eu devia estar contente : a trajetória de Raul Santos Seixas /." Marília : [s.n.], 2011. http://hdl.handle.net/11449/99022.

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Orientador: Alexandre Bérgamo Idargo<br>Banca: Fernando Antônio Pinheiro Filho<br>Banca: Marcelo Siqueira Ridenti<br>Resumo: Este trabalho tem como objetivo analisar a trajetória social de Raul Santos Seixas. Neste sentido, analisaremos os esforços e recursos empenhados pelo cantor em sua tentativa de conseguir um reconhecimento nacional, durante a década de 70, no Rio de Janeiro, superando um reconhecimento regional já alcançado na Bahia e a sua tentativa de reconversão a posições de destaque em São Paulo, durante a década de 80. Neste percurso analisaremos as possíveis influências em sua pro
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Moon, Joshua D. "Progress, Restoration, and the Life of Rock After Alternative." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1426865642.

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Gilles, Guillaume. "Les représentations de la sauvagerie dans le rock'n'roll américain des années 1950, entre mythes et réalités." Thesis, Paris Est, 2012. http://www.theses.fr/2012PEST0011.

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Cette thèse analyse le mythe de la sauvagerie tel qu’il a pu se représenter dans le rock’n’rollen Amérique du Nord au cours des années 1950. Nous identifions la rébellion adolescentecomme un fait social ayant suscité une représentation moderne de la sauvagerie, par denouveaux idéaux en confrontation avec ceux du monde des adultes. Nous décryptons ensuiteles raisons pour lesquelles le rock’n’roll est apparu comme un genre musical porteur de cettesauvagerie dans la musique d’Elvis Presley. L’analyse comparée de deux versions de HoundDog, celle de « Big Mama » Thornton, avec sa musicalité typique
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34

Trainer, Adam. "Rock'n'roll cinema." Trainer, Adam (2005) Rock'n'roll cinema. PhD thesis, Murdoch University, 2005. http://researchrepository.murdoch.edu.au/364/.

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Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts bel
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35

Sanchez, Luis Adan. "To catch a wave : The Beach Boys and rock historiography." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7954.

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From the release of their first single “Surfin’” in 1961 to the release of the album Pet Sounds in 1966, rock history traces the arc of the American rock group the Beach Boys in broad terms of the early-sixties Southern California surf music trend and the revolutionary effects of the Beatles’ stateside arrival in 1964. Typical claims for progress, autonomy, the significance of the album, and myths of authenticity in the study of the emergence of the rock concept, however, tend to promote an essentialist understanding of what rock music is about and what it is for. This study proposes an altern
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36

Sivy, Robert Jacob. "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/149.

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English progressive rock band Gentle Giant is catalogued under the progressive (or “prog”) rock genre for a variety reasons, including unique instrumentation, virtuosity, and interesting/unconventional musical attributes. The complexity of their music is often warranted by the sophisticated concepts behind their albums and the deep messages of their songs. The Power and the Glory (TPatG), Gentle Giant’s sixth studio album, is a concept album that emphasizes the rise and corruption of power. What makes their music, especially TPatG, worthy of scholarly attention beyond the simple examination of
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Ceulemans, Cédric. "Three essays in the economics of music: reputation and success of musicians." Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209455.

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The music industry is a market of superstars, that is a market where a relatively small number of people earn enormous amounts of money and dominate the activity in which they engage (Rosen,1981). Theories on the superstars phenomenon suggest that luck (Adler, 1985) or talent (Rosen, 1981) are the driving forces behind success. Thus, the “superstars models” left performers with no “active” role: successful artists are either endowed with an innate talent far above the average or are extremely lucky. However, all musicians (talented or not; lucky or not) take continuously decisions that affect
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Berndalen, Christian. "Populärmusik, konstmusik eller bara musik? : En undersökning av konstmusikaliska inslag i tre populärmusikaliska verk." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13443.

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Det är inte ovanligt att viss rock- och annan populärmusik tillskrivs konstnärliga ambitioner, eller förses med epitet som "konstnärlig" och "konstmusikalisk". Sällan utvecklas emellertid på vilket sätt detta konstnärliga tar sig uttryck. Uppsatsens syfte är att musikanalytiskt undersöka vad som kan motivera formuleringarna och om de kan anses adekvata. Materialet för undersökningen är tre verk/låtar ur rockgenren, som beskrivits med ovanstående begrepp: Close to the Edge med gruppen Yes från 1972, Sense of Doubt med David Bowie från 1977 och Sleep med gruppen Godspeed You! Black Emperor från
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Cummings, Joanne. "Sold out ! an ethnographic study of Australian indie music festivals /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.

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Thesis (Ph.D.)--University of Western Sydney, 2007.<br>A thesis submitted in total fulfillment of the requirements for the degree of Doctor of Philosophy to the College of Arts, School of Social Sciences, University of Western Sydney. Includes bibliographical references.
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Huang, Yingxue. "Yaogun, l'histoire de la musique rock Made in China : création, évolution et perspectives de la musique rock en Chine contemporaine (1980-2011)." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30056/document.

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Rock’n’roll. Ce terme s’est répandu d’abord dans le monde occidental à la fin des années 1950, principalement grâce au succès d’Elvis Presley. Fusion du blues, du rhythm’n’blues, du gospel, du doo-wop et de la country. Le terme rock’n’roll désigne à l’origine une musique nouvelle, adoptée avec enthousiasme par la jeunesse américaine rompant résolument avec la musique qu’écoutaient leurs parents. Le rock’n’roll, synonyme de révolte de la jeunesse, secoua l’Amérique à la fin des années 1950. Le 9 mai 1986, un grand concert rendant hommage à « l’Année Mondiale de la paix » a eu lieu au « Gongti »
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Kruse, Daniel R. "Tucson's Zoom Records and Late-1950s American Urban Popular Culture." Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/268475.

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The marketing and distribution of pre-recorded music for sale and public consumption is a cultural development as profound as any in the twentieth-century musical world. It is especially relevant to late-1950s American rock and roll, in terms of the music's capture in the rapidly-evolving environment of the recording studio, its release into the marketplace via independent record labels, and its enthusiastic embrace by the burgeoning youth culture of the era. Within this multi-dimensional context, Zoom Records, a tiny, independent record label, was born in Tucson, Arizona. A unique convergence
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Costa, Jacopo. "L'expérimentation dans la musique rock : recherches historiques, socio-économiques et analytiques." Thesis, Strasbourg, 2018. https://publication-theses.unistra.fr/restreint/theses_doctorat/2018/Costa_Jacopo_2018_ED520.pdf.

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La thèse traite des musiques qui, tout en étant enracinées dans la tradition du rock, dépassent les frontières — stylistiques mais aussi sociologiques et économiques — propres au rock : pour cette raison elles sont souvent regroupées dans le « genre » du rock expérimental. Mes recherches portent sur un choix d'artistes qui sont universellement considérés comme faisant du rock expérimental, à savoir Frank Zappa, le collectif Rock In Opposition, ainsi que le groupe italien Yugen, toujours en activité et en quelque sorte héritier de Rock In Opposition. L'analyse des démarches artistiques de ces a
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Häger, Andreas. "Religion, rock och pluralism : En religionssociologisk studie av kristen diskurs om rockmusik." Doctoral thesis, Uppsala universitet, Teologiska institutionen, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-84.

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Rock music has during all of its almost 50 years of existence been the subject of criticism and debate. Much of this criticism has risen from religious circles. But also in these circles, rock music has its advocates. This thesis studies the reactions to rock music by spokespersons for institutional Christianity. Most of the material studied is written and published material. The material dates from 1983-1998 and originates from Sweden, Finland and the United States. The material is studied qualitatively. The purpose is to study the Christian discourse on rock music as an example of how instit
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Bernhagen, Lindsay M. "Sounding Subjectivity: Music, Gender, and Intimacy." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365258753.

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Bosch, Thomas. "From ruins to rock'n'roll : images of male youths and constructions of masculinity in West German cultural production, 1945-1961 /." Digital version:, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9992753.

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46

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.

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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
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Nordström, Marika. "Rocken spelar roll : En etnologisk studie av kvinnliga rockmusiker." Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-38159.

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This doctoral thesis is about female rock musicians who are involved in two Swedish non-profit feminist music associations; Rockrebeller, which is situated in Uppsala and She´s Got the Beat in Umeå. The aim of the study is to analyze how the informants describe their lives as rock musicians and as active participants in these feminist music associations. The main issues are musicianship, identity, feminism and gender. The empirical material consists of in-depth interviews with ten informants – five from Umeå and five from Uppsala – and these interviews are complemented by a number of participa
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Della, Rosa Jacki Lynn. "Hard rockin' mamas : female rockabilly artists of Rock'n'roll's first generation, 1953-1960." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1202427565.

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Nascimento, Alam D'Avila do. ""Para animar a festa" a musica de Jorge Ben Jor." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284060.

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Orientador: Jose Roberto Zan<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-14T00:57:35Z (GMT). No. of bitstreams: 1 Nascimento_AlamD'Avilado_M.pdf: 1154616 bytes, checksum: dcebbc7ff39fbbf1133e86b1c286984c (MD5) Previous issue date: 2008<br>Resumo: Durante mais de quarenta anos de carreira, Jorge Ben Jor passou por diversas tendências dentro da música popular. Esteve próximo à bossa-nova, Jovem Guarda, Tropicália, incorporou o funk dos anos 70 e o pop da década de 80. No início dos 90, ressurge com "W/Brasil", reconqu
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Blakeley, Ryan. "Genre and Influence: Tracing the Lineage of Timbre and Form in Steven Wilson's Progressive Rock." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/36026.

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This thesis examines the music of contemporary British progressive rock artist Steven Wilson and explores the ways in which specific musical influences have informed and shaped his work. Wilson’s solo output is extremely eclectic and draws from a plethora of diverse genres including progressive rock, electronica, metal, drone, pop, jazz, and industrial. Although it would be impossible to trace all of the influences involved in Wilson’s unique musical idiolect, I study the influence of three seminal tracks upon his work: progressive rock band King Crimson’s “The Court of the Crimson King” (1969
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