Academic literature on the topic 'Social aspects of Alternative rock music'
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Journal articles on the topic "Social aspects of Alternative rock music"
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Guerra, Paula. "Keep it rocking: The social space of Portuguese alternative rock (1980–2010)." Journal of Sociology 52, no. 4 (July 10, 2016): 615–30. http://dx.doi.org/10.1177/1440783315569557.
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The main goal of our approach is to analyse the social representations of alternative rock in Portugal (or, using a terminology more akin to 1980s Portugal, of the “modern music vanguard”) from 1980 to 2010. This is part of broader research into the 30 years of modernization of the country (from the post-revolutionary period initiated in 1974 on), in which alternative rock is regarded as a significant social practice within the scope of the social, artistic and musical structuring of the country itself. We consider that alternative rock is a subject that is illuminated by Bourdieu’s theory of fields, without overlooking its clear interconnection with ‘art worlds’ or music scenes, and the aesthetic cosmopolitanism of late modernity. The article is a pioneering work on the Portuguese sociology of culture, whose results may be the starting point of a debate to problematize the functional logic of popular music in various Anglo-Saxon settings.
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Temperley, David. "Syncopation in rock: a perceptual perspective." Popular Music 18, no. 1 (January 1999): 19–40. http://dx.doi.org/10.1017/s0261143000008710.
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While study of the social and cultural aspects of popular music has been flourishing for some time, it is only in the last few years that serious efforts have been made to analyse the music itself: what Allan Moore has called ‘the primary text’ (1993, p. 1). These efforts include general studies of styles and genres (Moore, 1993; Bowman, 1995); studies of specific aspects of popular styles such as harmony and improvisation (Winkler 1978; Moore 1992, 1995; Walser 1992), as well as more intensive analyses of individual songs (Tagg 1982; Hawkins 1992). In this paper I will investigate syncopation, a phenomenon of great importance in many genres of popular music and particularly in rock.
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ATTON, CHRIS. "Writing about listening: alternative discourses in rock journalism." Popular Music 28, no. 1 (January 2009): 53–67. http://dx.doi.org/10.1017/s026114300800158x.
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Abstract‘Alternative’ publications challenge the conventional discourses of rock journalism. In particular, the dominant discourses of authenticity, masculinity and mythology might be countered by publications that emphasise historical and (sub)cultural framing, and that present radicalised ‘spaces of listening’. Using Bourdieu’s field theory to identify autonomous and semi-autonomous sites for rock criticism, the paper compares how a fanzine (the Sound Projector) and what Frith has termed an ideological magazine (the Wire) construct their reviews. The findings suggest that, whilst there is no evidence for an absolute break with the dominant conventions of reviewing, there is a remarkable polyglottism in alternative music reviewing. The paper emphasises differing cultural and social practices in the multiple ways the publications write about music, and argues for the value of such polyglottism.
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BANNISTER, MATTHEW. "‘Loaded’: indie guitar rock, canonism, white masculinities." Popular Music 25, no. 1 (January 2006): 77–95. http://dx.doi.org/10.1017/s026114300500070x.
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Indie alternative rock in the 1980s is often presented as authentically autonomous, produced in local scenes, uncaptured by ideology, free of commercial pressures, but also of high culture elitism. In claiming that the music is avant-garde, postmodern and subversive, such accounts simplify indie's historical, social and cultural context. Indie did not simply arise organically out of developing postpunk music networks, but was shaped by media, and was not just collective, but also stratified, hierarchical and traditional. Canon (articulated through practices of archivalism and connoisseurship) is a key means of stratification within indie scenes, produced by and serving particular social and cultural needs for dominant social groups (journalists, scenemakers, tastemakers, etc.). These groups and individuals were mainly masculine, and thus gender in indie scenes is an important means for deconstructing the discourse of indie independence. I suggest re-envisioning indie as a history of record collectors, emphasising the importance of rock ‘tradition’, of male rock ‘intellectuals’, second-hand record shops, and of an alternative canon as a form of pedagogy. I also consider such activities as models of rational organisation and points of symbolic identification.
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Oshio, Atsushi. "THE RELATIONSHIP BETWEEN DICHOTOMOUS THINKING AND MUSIC PREFERENCES AMONG JAPANESE UNDERGRADUATES." Social Behavior and Personality: an international journal 40, no. 4 (May 1, 2012): 567–74. http://dx.doi.org/10.2224/sbp.2012.40.4.567.
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The relationship between dichotomous thinking and music preferences was investigated with a sample of 176 Japanese undergraduates (111 males, 65 females). Participants completed the Dichotomous Thinking Inventory (Oshio, 2009) and the Short Test of Music Preferences (Rentfrow & Gosling, 2003). Individuals who thought dichotomously preferred intense and rebellious, energetic and rhythmic, and fast and contemporary music rather than music that was complex and conventional. Specifically, they most liked rock, alternative, soul, funk, and heavy metal and disliked classical music.
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Smith, Gareth Dylan Smith, Warren Gramm Gramm, and Kenrick Wagner. "Music education for social change in the United States: towards artistic citizenship through Little Kids Rock." International Journal of Pedagogy, Innovation and New Technologies 5, no. 2 (December 30, 2018): 11–21. http://dx.doi.org/10.5604/01.3001.0012.8539.
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Public education in the United States is often woefully under-funded, especially in the arts, despite a federal mandate to provide music education for all. Where music programs exist in US schools, they tend to focus on teacher-directed large ensembles that afford students little agency or creative opportunity, playing music that alienates a majority of young people. Faced with the volume of evidence pointing to the benefits of including music in a well-rounded education, philanthropy-funded nonprofit companies such as Little Kids Rock step in to fill the vacuum in state provision. This paper is a descriptive, intrinsic case study that describes how Little Kids Rock provides culturally relevant music making experiences for young people in schools, through a learning approach called music as a second language and alternative music classes termed modern band. Little Kids Rock builds a nationwide community of innovative music pedagogues by training teachers, donating musical instruments and sharing original curricular resources. This paper includes examples of two modern band teachers – one working in a rock band context, and the other a hip hop facilitator. The work of these and other teachers is ever more urgent in an era in which the U.S. perpetuates an intense neoliberal capitalism that oppresses and marginalizes vast numbers of its own people. Little Kids Rock aims to foster artistic citizenship wherein music makers recognize social and emancipatory responsibilities with the aim of transforming lives for the better.
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BRATUS, ALESSANDRO. "Scene through the Press: Rock Music and Underground Papers in London, 1966–73." Twentieth-Century Music 8, no. 2 (September 2011): 227–52. http://dx.doi.org/10.1017/s1478572212000096.
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AbstractIn the years around 1968 London was home to a sizeable community of writers, musicians, artists, and political activists whose countercultural attitudes are expressed in the publications of the ‘alternative’ or ‘underground’ press – magazines such asInternational Times,OZ,INK,Friends(laterFrendz),Time Out,Gandalf's Garden,The Black Dwarf, andThe Hustler. That most of them had at least some pages devoted to music reflected the crucial role of rock in particular in summing up the community's aspirations, focused less on political or social than on cultural transformation. This article seeks to chart in these underground publications the changing attitudes towards music and its revolutionary potential. Initially the alternative press portrayed popular music as sharing with avant-garde tendencies a basic equation between new creative means and their would-be disruptive effects on society as a whole. However, there soon arose contradictions between the radical social potential of music and its growing commercialization, contradictions stemming not only from the co-optation of rock by market forces and record companies but also from the underground's own lack of a coherent ideological agenda. Paradoxically, it was precisely when popular music began to be considered a form of ‘high’ culture – just as the alternative press advocated – that its perceived effectiveness as part of the revolutionary, countercultural project began to diminish.
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Tripathy, Manaswini, and Mithunchandra Chaudhari. "The Impact of Rock Music on Indian Young Adults: A Qualitative Study on Emotions and Moods." Revista Gestão Inovação e Tecnologias 11, no. 4 (September 16, 2021): 5361–74. http://dx.doi.org/10.47059/revistageintec.v11i4.2566.
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Music has proven to play a vital role in social and emotional development in teenagers and young adults. From contemplation, developing self-identity, understanding interpersonal relationships, and providing possibilities of experience mastery, agency, and self-control with the help of self-directed activities, music helps its audience develop in all aspects of life. In specific, Rock music, since its existence has been more than entertainment, artists expressed themselves and shared their opinions through their musical pieces. Infamous for promoting drugs and alcohol, Rock Music used its platform to enlighten the audience about taboo topics like racism, inequality, and other social issues. This research paper uses a qualitative methodology approach to understand Rock Music listeners’ points of view. Data was collected through ‘in-depth interviews’ of 15 participants hailing from different parts of the country. Rock Music has several positive effects on the listeners. Rock can elevate moods, induce emotions, helps the listeners be more productive and creative with their everyday work, and constantly motivate them to do better in every aspect of life. Rock provides a platform to express feelings and vent out all the angst, especially for those who otherwise do not voice their opinions because of their nature in general. Rock Music has been able to shape personalities, characteristics, and thought processes. Moreover, majorly, Rock Music helps people with anger management.
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Tripathy, M., and M. Chaudhari. "The impact of rock music on Indian young adults: a qualitative study on emotions and moods." CARDIOMETRY, no. 20 (November 21, 2021): 111–19. http://dx.doi.org/10.18137/cardiometry.2021.20.110118.
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Music has proven to play a vital role in social and emotionaldevelopment in teenagers and young adults. From contemplation,developing self-identity, understanding interpersonalrelationships, and providing possibilities of experience mastery,agency, and self-control with the help of self-directed activities,music helps its audience develop in all aspects of life. In specific,Rock music, since its existence has been more than entertainment,artists expressed themselves and shared their opinionsthrough their musical pieces. Infamous for promoting drugsand alcohol, Rock Music used its platform to enlighten the audienceabout taboo topics like racism, inequality, and other socialissues. This research paper uses a qualitative methodologyapproach to understand Rock Music listeners’ points of view.Data was collected through ‘in-depth interviews’ of 15 participantshailing from different parts of the country. Rock Musichas several positive effects on the listeners. Rock can elevatemoods, induce emotions, helps the listeners be more productiveand creative with their everyday work, and constantly motivatethem to do better in every aspect of life. Rock provides aplatform to express feelings and vent out all the angst, especiallyfor those who otherwise do not voice their opinions becauseof their nature in general. Rock Music has been able to shapepersonalities, characteristics, and thought processes. Moreover,majorly, Rock Music helps people with anger management.
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Appel, Nadav. "‘Ga, ga, ooh-la-la’: the childlike use of language in pop-rock music." Popular Music 33, no. 1 (January 2014): 91–108. http://dx.doi.org/10.1017/s0261143013000548.
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AbstractIn this paper, I examine several aspects of pop-rock music that are characterised by the childlike use of language. Relying on the theoretical work of Gilles Deleuze and Félix Guattari – particularly on their concept of ‘becoming-child’ – I locate, describe and analyse three distinct childlike strategies common in pop-rock: the use of gibberish and nonsense that unbinds language from sense, enabling it to release its own expressive intensities; the utilisation of baby talk and other childlike vocal mannerisms, drawing attention to the physical properties of the act of singing as bodily experimentation; and different forms of repetition that ‘shake’ sense out of words, allowing them to draw their own lines of flight. Foregrounding these strategies, I ultimately claim, expands our understanding of pop-rock music while problematising its traditional interpretation as ‘rebellious’ music, offering its positive, productive qualities and ‘minoritarian’ politics as an alternative to the restricting dichotomy between oppression and liberation implied by the concept of rebellion.
Dissertations / Theses on the topic "Social aspects of Alternative rock music"
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Ball, Rebecca Elizabeth. "Portland's Independent Music Scene: The Formation of Community Identities and Alternative Urban Cultural Landscapes." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/126.
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Portland has a rich, active, and fluid music culture which is constantly being (re)created and (re)defined by a loose network of local musicians who write, record, produce, promote, distribute, and perform their music locally (and sometimes regionally, nationally, and internationally) and local residents, or audiences, who engage in local musical practices. Independent ("indie") local music making in Portland, which is embedded in DIY (do it yourself) values, creates alternative cultural places and landscapes in the city and is one medium through which some people represent themselves in the community. These residents not only perform, consume, promote, and distribute local music, they also (re)create places to host musical expressions. They have built alternative and democratic cultural landscapes, or culturescapes, in the city. Involved Portlanders strive to make live music performances accessible and affordable to all people, demonstrating through musical practices that the city is a shared space and represents a diversity of people, thoughts, values, and cultural preferences. Using theoretical tools from critical research about the economic, spatial, and social role of cultures in cities, particularly music, and ethnographic research of the Portland music scene, including participant observations and in-depth interviews with Portland musicians and other involved residents, this research takes a critical approach to examining ways in which manifestations of independent music are democratic cultural experiences that influence the city's cultural identity and are a medium through which a loosely defined group of Portlanders represent their cultural values and right to the city. In particular, it focuses on how local musical practices, especially live performances, (re)create alternative spaces within the city for musical expressions and influence the city's cultural landscapes, as well as differences between DIY independent music in Portland and its commodified forms and musicians and products produced by global music industry.
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Thompson, Pamela J. "Rock and roll and the counterculture : the search for alternative values and a new spirituality." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59237.
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Both the counterculture and its music will be examined using the concepts of heteronomy, autonomy, and theonomy and their dialectical relationship according to Paul Tillich's theory of religion and culture. The main themes beneath the emergence of the counterculture will be outlined, and the ways in which the dominant culture of the time may be considered what Tillich describes as a heteronomous phenomenon will be presented. The historical significance of the counterculture will then be demonstrated in terms of Tillich's concept of kairos. Through examination of the lyrics of some of the most popular songs between 1965 and 1970, the years during which the movement was at its height, the ways in which the counterculture may be seen as autonomous protest will be discussed. This will be followed by an examination of theonomous elements apparent in the song lyrics and an evaluation of the movement in terms of the Tillichian dialectic.
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Guy, Stephen. "The nature of community in the Newfoundland rock underground /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81493.
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Twenty-five years of independent, underground, or punk rock music-making in St. John's, Newfoundland, have been defined by geographic isolation. In tracing a historical record of the small city's punk/indie scene, this project seeks to evaluate recent academic discussion surrounding the role of collectivity in artistic 'independence' and examine the impact of prevailing international aesthetics and changing communication technologies on local practice. The self-containment and self-sufficiency of the St. John's music community, largely the product of the city's isolated position on the extreme eastern tip of a large island off the east coast of North America, provide a unique backdrop against which to foreground a discussion of the distance between indie/punk rhetoric and reality. I contend that 'scene' in popular and academic use refers to the casual aggregation occasioned by similar interest and shared location, while 'community' hints at effort, co-operation and productive support.
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Berkland, Darren Gary. "Androcentrism and misogyny in late twentieth century rock music." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1021199.
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Judith Butler’s writings on gender ostensibly changed the way gender is considered with regard to an individual’s subjectivity. Her writings expressed a discursive parameter that changed the theoretical standpoint of gender from that of performance, to that of performativity. In short, the notion of gender became understood as a power mechanism operating within society that compels individuals along the heteronormal binary tracts of male or female, man or woman. Within the strata of popular culture, this binarism is seemingly ritualized and repeated, incessantly. This treatise examines how rock music, as a popular and widespread mode of popular music, exemplifies gender binarism through a notable ndrocentrism. The research will examine how gender performativity operates within the taxonomy of rock music, and how the message communicated by rock music becomes translated into a listener’s subjectivity.
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Stahl, Geoff. "Troubling below : rethinking subcultural theory." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/MQ43954.pdf.
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Shadrack, Jasmine Hazel. "Denigrata cervorum : interpretive performance autoethnography and female black metal performance." Thesis, University of Northampton, 2017. http://nectar.northampton.ac.uk/9679/.
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I am concerned with the performance of subversive ... narratives ... the performance of possibilities aims to create ... a ... space where unjust systems and processes are identified and interrogated. (Madison 280). If a woman cannot feel comfortable in her own body, she has no home. (Winterson, J; The Guardian 29.03.2013). Black metal is beyond music. It exceeds its function of musical genre. It radiates with its sepulchral fire on every side of culture [...] Black metal is the suffering body that illustrates, in the same spring, all the human darkness as much as its vital impetus. (Lesourd 41-42). Representation matters. Growing up there were only two women in famous metal bands that I would have considered role models; Jo Bench from Bolt Thrower (UK) and Sean Ysseult from White Zombie (US). This lack or under-representation of women in metal was always obvious to me and has stayed with me as I have developed as a metal musician. Women fans that see women musicians on stage, creates a paradigm of connection; that representation means something. Judith Butler states ‘on the one hand, representation serves as the operative term within a political process that seeks to extend visibility and legitimacy to women as political subjects; on the other hand, representation is the normative function of language which is said either to reveal or distort what is assumed to be true about the category of women’ (1). Butler references de Beauvoir, Kristeva, Irigaray, Foucault and Wittig regarding the lack of category of women, that ‘woman does not have a sex’ (Irigaray qtd. in Butler 1) and that ‘strictly speaking, “women” cannot be said to exist’ (Kristeva qtd. in Butler 1). If this is to be understood in relation to my research, my embodied subjectivity as performative text, regardless of its reception suggests that my autoethnographic position acts as a counter to women’s lack of category. If there is a lack of category, then there is something important happening to ‘woman as subject’. This research seeks to analyse ‘woman as subject’ in female black metal performance by using interpretive performance autoethnography and psychoanalysis. As the guitarist and front woman with the black metal band Denigrata, my involvement has meant that the journey to find my home rests within the blackened heart of musical performance. Interpretive performance autoethnography provides the analytical frame that helps identify the ways in which patriarchal modes of address and engagement inform and frame ‘woman as subject’ in female black metal performance.
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Ballico, Christina. "Bury me deep in isolation: A cultural examination of a peripheral music industry and scene." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/682.
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Since 1998, Perth bands have had a strong presence within the Australian music scene. Primarily, each year between 1998 and 2009, songs by indie pop/rock acts from Perth have charted within national broadcaster triple j’s Hottest 100 countdown. Many of the albums from which these songs have been taken have sold in excess of 35,000 copies, and a number of successful and recognised Perth bands have toured with the nation’s largest music festival, the Big Day Out as well as their own high profile national tours. At the same time, Perth’s local indie pop/rock music industry has undergone tremendous growth and development, becoming more integrated into this nationally focused industry while also making significant inroads internationally. This research comprises 40 in-depth qualitative research interviews with 48 musicians and key industry players from Perth’s indie pop/rock music industry and scene. It presents a socio-culturally based examination to explore its evolution over the past decade. This is presented through an examination of the personal experiences of those involved in development of the local industry and who experienced, or witnessed an increase in success and recognition of Perth bands in national, and at times international, contexts. Broadly, this research explores the repercussions the shift in attitude toward Perth’s indie pop/rock music industry and scene as being worthy of national attention and recognition. In particular, it discusses the implications this has on the functioning of this industry as well as the careers of those within it. Further, this study examines what it means to be a musician and/ or music industry member in and from Perth along with the attitudes toward supporting local music product locally and its attempts to connect with audiences beyond the state. Within this, an examination of the influence of the city’s geographical isolation on the functioning of the local industry and on the ability for musicians to connect with audiences beyond the state is presented alongside an exploration of the role of social networks and the structure of the community of practice evident in this local industry. Additionally, the notions of creativity and creative process, core-periphery, and place and space are examined in relation to the functioning of this industry in business and creative contexts. Underwriting this is an examination of the shifts in the national and international music industries and associated music culture. These shifts all at once influenced the validity for Perth music to enter the national market and impacted upon the ongoing integration of this local industry within the national and international markets.
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Johnson, Alfred B. "Fascination machine : a study of pop music, mass mediation, and cultural iconography." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1185429.
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The mediation of popular musicians in the twentieth century results in the construction of cultural formations-mass mediated pop musician icons-that are, to various degrees, weighted down by the ideologies and concerns of those who receive them as mediated texts. In passing judgment on these cultural icons, the public engages in a massive act of reading, and in the process the icons become sites of personal and cultural signification. This study examines the nature of signification in and through mass mediated popular music icons by exploring the processes by which popular music icons are produced, circulated, and read as texts; and it examines, when appropriate, the significant content of these icons.
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"Rock music and hegemony in China." Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5887223.
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by Wong Yan Chau, Christina.Thesis (M.Phil.)--Chinese University of Hong Kong, 1994.
Includes bibliographical references (leaves 175-186).
Chapter I. --- Introduction --- p.2
Chapter II. --- Historical Background --- p.5
Chapter III. --- A Review of the Related Literature --- p.14
Chapter A. --- The Culture Industry Approach --- p.15
Chapter B. --- The Liberal-Pluralist Approach --- p.26
Chapter C. --- The Technological Approach --- p.31
Chapter IV. --- The Theoretical Perspective --- p.36
Chapter V. --- Methodological Approach to Study --- p.42
Chapter A. --- Content Analysis of Lyrical Messages --- p.42
Chapter 1. --- Method --- p.42
Chapter 2. --- Data --- p.43
Chapter 3. --- Analytic Framework of the Textual Analysis --- p.45
Chapter B. --- Analysis of Rock Music within Hegemony --- p.48
Chapter 1. --- Method --- p.48
Chapter 2. --- Data --- p.50
Chapter VI. --- Meanings in Rock Music --- p.52
Chapter A. --- Themes in each fictional mode --- p.52
Chapter B. --- Thematic content of Rock Music --- p.54
Chapter 1. --- The Ironic Mode --- p.54
Chapter 2. --- The Mimetic Mode --- p.64
Chapter a. --- Phenomena of Identity Crisis --- p.64
Chapter i. --- Loss of direction --- p.65
Chapter ii. --- Roots-seeking --- p.68
Chapter iii. --- Alternating identity --- p.69
Chapter iv. --- Alienation --- p.71
Breakaway --- p.71
A Stranger in the City --- p.74
Chapter b. --- Outlook on Life --- p.76
Chapter c. --- Social Problems --- p.79
Chapter i. --- War --- p.79
Chapter ii. --- Incivility --- p.81
Chapter d. --- The Experience of Growing Up --- p.82
Chapter i. --- Anti-patriarchism --- p.82
Chapter ii. --- Wandering --- p.83
Chapter iii. --- The Loss of Childhood --- p.84
Chapter e. --- Love --- p.85
Chapter i. --- Yearning for love --- p.85
Chapter ii. --- Frustrations with love --- p.86
Chapter iii. --- Wild love --- p.88
Chapter iv. --- Inauthentic love --- p.90
Chapter 3. --- The Leadership Mode --- p.93
Chapter a. --- The Exploratory Spirit --- p.93
Chapter b. --- Individuality and Non-Conformity --- p.96
Chapter c. --- The Authentic Self --- p.98
Chapter 4. --- The Romantic Mode --- p.102
Chapter a. --- Nostalgia for a Glorious Past --- p.102
Chapter b. --- Anarchy in the Demonic World --- p.105
Chapter c. --- Union with nature --- p.107
Chapter d. --- The Pastoral Utopia --- p.111
Chapter e. --- Fictional Characters and Objects Speaking --- p.112
Chapter 5. --- The Mythic Mode --- p.117
Chapter C. --- The World View of Rock Music --- p.120
Chapter VII. --- The Relations of Rock Music to Hegemony --- p.125
Chapter A. --- Messages of Rock and the Hegemony --- p.125
Chapter B. --- Music as a Contested Terrain --- p.130
Chapter 1. --- The Hegemonic Power: Cooptation and Marginalization --- p.130
Chapter 2. --- The Deviant Culture: Struggle by Means of adaptation and negotiation --- p.140
Chapter VIII. --- Conclusion --- p.155
Chapter IX. --- Limitations of the Study --- p.158
Chapter X. --- Future Studies on Rock Music --- p.161
Notes --- p.165
Bibliography --- p.175
Discography --- p.185
Appendix 1. The Sample of Rock Songs --- p.187
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"Exploring the spaces for a voice: the noises of rock music in China (1985-2004)." Thesis, 2006. http://library.cuhk.edu.hk/record=b6074261.
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Apart from politics and market, ideology was a significant factor in the realm of rock music. Upholding an ideology that focused on individuality and autonomy, and epousing a set of aesthetic value that placed emphases on live performance: how to maintain a balance between autonomy from politics and adaptation to market tastes became a question for both rock artists and the culture industry, a topic of which will be examined in the dissertation.At the same time, this paper examined the struggle of rock artists against the official constraints and prohibitive coding via rock lyrics, the visual, the music, the body as well as the theatrical performance.
Finally, this paper explores how rock artists and the rock industry turned to alternative spaces for projecting their causes: the Internet, the underground music network and the realm of piracy, spaces where interferences from both the state and the market were minimum.
It also took as its study why rock music was a noise in the market and how rock labels contested for a space in the market which had been plagued by piracy and lack of protection for intellectual property rights. It at the same time explored the ways rock companies attempted to make the books balanced in operating the rock music business in a market where rock fans only constituted a marginal audience.
It looked at how the government imposed control and prohibition on the publishing, performance and dissemination of rock music which it perceived as an alien noise. For this, interviews had been held with personnel from the official apparatuses, the culture industry, the mass media as well as the rock artists and musicians, in a way to understand why rock was rarely heard on the radio or performed on television; why rock music became a term rarely appeared in the official press; and why rock was not allowed to mingle with official discourse like party songs or national anthem; and in what ways the contents of songs as well as the visuals on album covers were censored; and how the government controlled the speech, acts and dress of rock artists on stage.
This paper concludes with the view that despite the many constraints encountered by rock music in the realm of both the state and the market, rock music as a cultural space did not totally lose its freedom, autonomy or integrity. It adopted a mode of communication which is hinged on the non-verbal, the second-order signification, the hidden and the symbolic. It utilised a strategy which avoids direct antagonism with the political regime, and sought outlets for its own messages and meanings.
This paper started by examining how rock music had been transformed into a genre distinguished with its ideology and aesthetics in a socialist country where politics and economy weighed equally significant.
This study took rock music as a cultural space that reflected a larger political and economic environment in China, where it had been marginalized and segregated as a noise by both the state and the market.
Wong Yan Chau Christina.
"September 2006."
Adviser: Joseph Man Chan.
Source: Dissertation Abstracts International, Volume: 68-03, Section: A, page: 0783.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2006.
Includes bibliographical references.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in English and Chinese.
School code: 1307.
Books on the topic "Social aspects of Alternative rock music"
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Wenzer, Jakob. Resonanser: En neomaterialistisk analys av independentscenen i Göteborg. [Göteborg]: Göteborgs Universitet, 2007.
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Empire of dirt: The aesthetics and rituals of British indie music. Middletown, Conn: Wesleyan University Press, 2006.
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Vries, Fred de. Club Risiko: De jaren tachtig, toen en nu. Amsterdam: Nijg & Van Ditmar, 2006.
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Wicke, Peter. Rock music: Culture, aesthetics and sociology. Cambridge: Cambridge University Press, 1990.
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Moore, Ryan. Sells like teen spirit: Music, youth culture, and social crisis. New York: New York University Press, 2010.
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Sells like teen spirit: Music, youth culture, and social crisis. New York: New York University Press, 2009.
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This is rebel music: The Harvey Kubernik innerviews. Albuquerque: University of New Mexico Press, 2003.
Find full textBook chapters on the topic "Social aspects of Alternative rock music"
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Margolies, Daniel S. "Reimagined Old-Time Music Cultures in the Trainhopping Punk Rock South." In Bohemian South. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469631677.003.0013.
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This chapter presents the first consideration of a little known network of radical musicians which has coalesced in the last decade into a vibrant new subculture within the broader (but still obscure) “old time music” scene. Since the late 1990s, old time music has been adopted and repurposed via the language of liberation and autonomy with great seriousness and complete novelty by a fluid group of alternative minded DIY anarcho-punks, many of whom are originally from outside of the region. These young musicians have relocated from around the country to the contemporary South in search of deeply authentic old time forms of music, life, and economy standing in opposition to dominant capitalist consumer culture. These “trainhoppers” search for community and authenticity among alternative-minded people and construct a unique old time musical ecology embedded within related pursuits like radical environmental politics, squatting, off-the-grid homesteading, alternative fuel production, and other aspects of the radical quest for hand-crafted experience conceived of as oppositional to dominant, contemporary American consumer culture.
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Dunne, Terence M. "The Law of Captain Rock." In Crime, Violence and the Irish in the Nineteenth Century. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940650.003.0003.
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This chapter examines the threatening letter as a form of potential brutal social control and a manifestation of alternative law, or ‘legal parallelism', during the Rockite disturbances of the 1820s. The author focuses on 135 instances of these threatening letters and notices gathered in Dublin Castle during investigations to paint a picture of charivari Irelandaise, rough music, or community justice of sorts. The chapter reads these protest and threats through the prisms of Mikhail Bakhtin and Antoni Gramsci, with authority challenged, but not threatened; with the dissolving of legal protection of customary rights being questioned, but not the law itself.
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Enriquez, Falina. "A Roda’s Rooted Cosmopolitan Groove." In The Costs of the Gig Economy, 63–101. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044618.003.0003.
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This chapter examines the alternative music scene in the metropolitan area of Recife, Brazil, to understand how the primarily middle-class musicians involved in it contend with state sponsorship and its neoliberal multicultural discourses. By engaging with music that fuses traditional northeastern styles with transnational genres like rock and jazz, alternative musicians and fans “voice” rooted cosmopolitan scale-making projects that bridge the local and global. They also legitimize their tastes and interests within the realm of state-sponsored music and create forms of belonging and distinction within the middle class. The scene’s participants are seemingly more motivated by friendship and artistic passion than by profit, but their activities are nonetheless influenced by historical social disparities and contemporary neoliberal processes that economize culture and maintain inequality.
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Dorfman, Jay. "Future Considerations." In Theory and Practice of Technology-Based Music Instruction. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199795581.003.0013.
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The dominant issues that the TBMI community will face for the next 30 years and beyond are just starting to appear through the fog. In this final chapter, I will introduce some of the trends that have recently emerged that may impact the development of TBMI pedagogy, and speculate on directions they might take. These trends include, but are certainly not limited to, (1) the emergence of mobile devices such as tablets and smartphones and their potential for music making; (2) the growing popularity of alternative and electronic ensembles; (3) concerns about connections between traditional forms of music making—specifically, the critical role that singing plays in learning to be musical—and music technology; (4) the possibilities of technology-enhanced distance learning in music; and (5) the critical examination we must do regarding social and inclusion issues, and their relationships to music technology. There is little doubt that mobile devices, and particularly the iPad, will revolutionize our work in TBMI. Interestingly, as I scoured the landscape for teachers in the K–12 environment who are using iPads in their classrooms as replacements for notebook or desktop computers, few examples emerged. This provides evidence that we are at a point in technological development where we are still very much a computer lab-based culture, but we see the promise of mobile devices. Mrs. J teaches at a small independent school. Although not an official designation, the school’s teachers consider it to be project-based, and much of what Mrs. J does in her music classes is designed around projects. Her fourth grade students were composing short melodies using their recorders and then using GarageBand on iPads to create accompaniments to their melodies. My questions for Mrs. J focused on the pedagogical aspects of using iPads in her classes. First we talked about her general experiences using iPads, especially given that her students share the devices in groups of three or four. The sharing aspect seemed like it might be problematic because the iPad is designed as a personal device, usually viewed and used by one person.