Relevant bibliographies by topics / Underground music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Underground music'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Underground music"

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Andrew, Teguh Vicky, Riama Maslan Sihombing, and Hafiz Aziz Ahmad. "MUSIK, MEDIA, DAN KARYA : PERKEMBANGAN INFRASTRUKTUR MUSIK BAWAH TANAH (UNDERGROUND) DI BANDUNG (1967-1990)." Patanjala : Jurnal Penelitian Sejarah dan Budaya 9, no. 2 (September 16, 2017): 293. http://dx.doi.org/10.30959/patanjala.v9i2.18.

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AbstrakTren musik populer dari tahun ke tahun semakin mengguntungkan aliran musik bawah tanah (underground). Infrastruktur musik yang mandiri dan fleksibel, baik dalam tataran produksi, distribusi, dan konsumsi, menjadi kunci sukses aliran musik bawah tanah. Hal ini berlaku pula di Bandung. Namun pencapaian musik bawah tanah saat ini sebenarnya telah dirintis sejak 1970. Oleh karena itu, penelitian ini mencoba menelaah rintisan infrastruktur musik bawah tanah yang memiliki kontribusi bagi generasi sekarang. Untuk itu, penelitian ini dilakukan dengan menggunakan metode sejarah dengan pisau analisis skena musik dan musik bawah tanah. Berdasarkan telaah yang dilakukan, infrastrukstur musik yang dibangun pada periode 1967-1990 tidak saja terkait dengan aliran dan grup musik belaka, tetapi juga beragam media (cetak dan radio) dan album independen. Infrastruktur ini kemudian dijadikan model dan dikembangkan dalam sistem yang lebih kompleks sesuai dengan tren musik bawah tanah di Bandung.Kata kunci: skena, musik, bawah tanah, infrastruktur AbstractPopular music trend from year to year more prospering for underground music. Independent and flexibel musical infrastructure, in term of production, distribution, and consumption, becomes key success for underground music. This also applies in Bandung. However, the current achievement of underground music acctually was began since 1970. Therefore, this research tries to analyze infrastructure formation in underground music that has contributed for the current generation. For that reason, this research was conducted by using historical method with music scene and underground music concept. Based on the analysis, the musical infrastructure that built in 1967-1990, not only related to the genre and music grup, but also various media (print and radio) and independent album. The infrastructure subsequently became raw model and developed in more complex system in accordance with the underground music trend in Bandung.Keywords : scene, music, underground, infrastructure
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Francis, H. E. "Underground Music." Missouri Review 20, no. 3 (1997): 65–77. http://dx.doi.org/10.1353/mis.1997.0036.

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Nugraha, Handriansyah. "Budaya Lokal dalam Musik Underground Bandung." Metahumaniora 7, no. 3 (December 3, 2017): 402. http://dx.doi.org/10.24198/metahumaniora.v7i3.18861.

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AbstrakKarya tulis ini bertujuan untuk mengetahui apa maksud dan tujuan pengangkatankesadaran akan budaya lokal dari komunitas musik underground, serta bagaimanaperwujudan kesadaran berbudaya tersebut dilakukan. Karya tulis ini menggunakanmetode deskriptif kualitatif dengan teori identitas dan akulturasi. Hasil pengamatanmenunjukkan bahwa maksud dan tujuan kesadaran akan budaya lokal dari komunitasmusik underground ini adalah ingin menunjukkan identitas jati diri. Merekamewujudkannya dengan beberapa bentuk, seperti menggunakan iket dan pangsi, lirikyang bertema kasundaan, artwork dengan tema kasundaan, dan mengeksiskan kembaliinstrumen karinding dan celempung.Kata kunci: komunitas musik underground, budaya lokalAbstractThis paper is to find out what is the purpose of lifting awareness of the local cultureon the underground music group, and how the embodiment of cultural awareness is done.This paper uses qualitative descriptive method with the theory of identity and acculturation.The results of the observation show that the purpose and intention of awareness of thelocal culture of the underground music group is very simple, that is to show their realidentity. They manifest it in several forms, such as using iket and pangsi, kasundaan-themelyrics, artwork with the kasundaan-theme, and to restore the existance of the karindingand celempung traditional music instruments.Keywords: underground music group, local culture
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Nugraha, Handriansyah. "Budaya Lokal dalam Musik Underground Bandung." Metahumaniora 7, no. 3 (December 3, 2017): 402. http://dx.doi.org/10.24198/mh.v7i3.18861.

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AbstrakKarya tulis ini bertujuan untuk mengetahui apa maksud dan tujuan pengangkatankesadaran akan budaya lokal dari komunitas musik underground, serta bagaimanaperwujudan kesadaran berbudaya tersebut dilakukan. Karya tulis ini menggunakanmetode deskriptif kualitatif dengan teori identitas dan akulturasi. Hasil pengamatanmenunjukkan bahwa maksud dan tujuan kesadaran akan budaya lokal dari komunitasmusik underground ini adalah ingin menunjukkan identitas jati diri. Merekamewujudkannya dengan beberapa bentuk, seperti menggunakan iket dan pangsi, lirikyang bertema kasundaan, artwork dengan tema kasundaan, dan mengeksiskan kembaliinstrumen karinding dan celempung.Kata kunci: komunitas musik underground, budaya lokalAbstractThis paper is to find out what is the purpose of lifting awareness of the local cultureon the underground music group, and how the embodiment of cultural awareness is done.This paper uses qualitative descriptive method with the theory of identity and acculturation.The results of the observation show that the purpose and intention of awareness of thelocal culture of the underground music group is very simple, that is to show their realidentity. They manifest it in several forms, such as using iket and pangsi, kasundaan-themelyrics, artwork with the kasundaan-theme, and to restore the existance of the karindingand celempung traditional music instruments.Keywords: underground music group, local culture
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Molnár, Kolos. "On underground music and scientometrics." Express Polymer Letters 16, no. 3 (2022): 220. http://dx.doi.org/10.3144/expresspolymlett.2022.17.

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Fajri, Tri, and Marzam Marzam. "UNDERGROUND” STUDI DESKRIPTIF KOMUNITAS UNDERGROUND DI KOTA PADANG." Jurnal Sendratasik 9, no. 1 (February 13, 2020): 88. http://dx.doi.org/10.24036/jsu.v8i3.108101.

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AbstractThis research aims to find and describe the activities of underground community in Padang. Type of this research was qualitative. The main instrument in this study was the researcher. The additional instruments used stationery, recording device and camera. Techniques of data collection were done by taking observation, interviews, literature study and documentation. The steps in analyzing data were carried out by collecting, describing and making conclusion of data. The results show that the number of negative responses from ordinary society to the underground community. Underground is a movement which is not tied to a corporation that is binding. The underground movement is counterculture. Judging from the way they are dressed and the accessories used, unclear and noisy music, underground music is considered as satanic, unhealthy lifestyles such as drugs and drinking. The underground communities respond to the negativeresponse by being apathetic. Yet, they can only show to the general public in particular with activities that are positive for the outside society, for example, such as food not bombs, mayday, free market and reading booths.Keywords: descriptive study, community, underground
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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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Chrysagis, Evangelos. "DIY Cultures and Underground Music Scenes." Popular Music and Society 42, no. 5 (August 5, 2019): 624–26. http://dx.doi.org/10.1080/03007766.2019.1650522.

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Baker, Geoffrey. "Cuba Rebelión: Underground Music in Havana." Latin American Music Review 32, no. 1 (2011): 1–38. http://dx.doi.org/10.1353/lat.2011.0008.

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Hidayatullah, Rahmat. "Islamic Underground Movement: Islamist Music in the Indonesian Popular Music Scene." Studia Islamika 31, no. 1 (May 3, 2024): 63–93. http://dx.doi.org/10.36712/sdi.v31i1.30664.

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Since the fall of the New Order regime in 1998, music has become a site of religio-political resistance among the new Islamist generation in Indonesia. This research examines the emergence of Islamist music on the Indonesian underground music scene to show the deepening influence of the Islamist movement among urban Muslim youth and the shifting strategy of the new Islamist generation from structural politics to cultural politics. The emergence of Islamist music indicates how a new generation of Islamists negotiates an Islamist worldview with contemporary popular culture. By maintaining the aggressive character of underground music, they adopt the Western popular culture as a code of resistance against the secular cultural hegemony. They also use popular music as a cultural approach or a strategy to promote the Islamist ideology to all urban Muslim youth.
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Dissertations / Theses on the topic "Underground music"

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Ciraulo, Christopher Samuel. "UEME : the underground electronic music experience." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/31198.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2005.
Includes bibliographical references (p. 120-121).
The global electronic music scene has remained underground for its entire lifespan, momentarily materializing during an event, a place defined by the music performed and the people who desire the experience. As festivals around the globe begin to take shape, the identity of electronic music defines itself almost instantaneously with a strict desire to return to its roots and find a new place to redefine itself in the next moment. The next moment is envisioned in Chicago. The city becomes a stage, through its current reputation as an event place, and through a new idea for an electronic music event alive within the interstitial spaces of the downtown. The art of electronic music, specifically the DJ and the sampling of music old and new, becomes the underlying process by which spaces are "sampled" to create a movement of light, sound and crowd through the dense architecture of Chicago's loop.
Christopher Samuel Ciraulo.
M.Arch.
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Graham, Stephen. "Notes from the underground : a cultural, political, and aesthetic mapping of underground music." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/8050/.

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The term 'underground music' in my account, connects various forms of music-making that exist largely outside 'mainstream' cultural discourse, such as Drone Metal, Free Improvisation, Power Electronics, and DIY Noise, amongst others. Its connotations of concealment and obscurity indicate what I argue to be the music's central tenets of cultural reclusion, political independence, and aesthetic experiment. In response to a lack of scholarly discussion of this music, my thesis provides a cultural, political, and aesthetic mapping of the underground, whose existence as a coherent entity is being both argued for and 'mapped' here. Outlining the historical context, but focusing on the underground in the digital age, I use a wide range of interdisciplinary research methodologies, including primary interviews, musical analysis, and a critical engagement with various pertinent theoretical sources. In my account, the underground emerges as a marginal, 'antermediated' cultural 'scene' based both on the web and in large urban centres, the latter of whose concentration of resources facilitates the growth of various localised underground scenes. I explore the radical anti-capitalist politics of many underground figures, whilst also examining their financial ties to big business and the state(s). This contradiction is critically explored, with three conclusions being drawn. First, the underground is shown in Part II to be so marginal as to escape, in effect, post-Fordist capitalist subsumption. Second, the practice of 'co-determination' is seen to allow politically engaged underground artists to channel public and private funds into various practices of contestation. Third, and finally, I argue across Part III that in its distinctive musical and iconographic forms, the underground offers a kind of profaning, deforming, sublimating aesthetic 'counter-magic', where radical aesthetic modes and radical practices of representation communicate a kind of 'reconfiguration of the sensible' to audiences. I argue that this 'reconfiguration' might yield emancipatory political readings, whilst also reflecting the kinds of experimental and exploratory musical practices typical in the underground.
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Vanicek, Anna. "Passion play, underground rock music in Czechoslovakia, 1968-1989." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22882.pdf.

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Martin, Bryan. "Two projects in sound recording involving underground rock music." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61248.

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This thesis explores the sound recording aspects encountered on the creation of an album containing Rock music. It follows each project from the recording of the basic tracks through the final album mixes. Microphone technique, signal processing, studio setup, and instrument selection are also dealt with. This thesis documents two separate recording projects.
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Todorovič, Milan. "The underground music scene in Belgrade, Serbia : a multidisciplinary study." Thesis, Bucks New University, 2004. http://bura.brunel.ac.uk/handle/2438/5905.

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The focus of this study is the underground music scene in Belgrade, Serbia. This work requires the exploration of varied cultural and market factors that have shaped the scene, resulting in its present form. The explored phenomenon is complex and achieving the necessary depth of analysis will involve the use of a wide set of theoretical sources and research methods. The fieldwork includes in-depth interviews, reflective accounts of longitudinal participant observation, data collected through email correspondence, and a large amount of documentary data. Data analysis will be articulated into a single methodology (examined in depth in Chapter 3).
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Wheeler, Jesse Samuel. "Dark matter towards an architectonics of rock, place, and identity in Brasília's utopian underground /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467887541&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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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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Mazzarrino, Morena <1993&gt. "The impact of dakou generation on Chinese underground music and youth subcultures." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15152.

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After the reforms and opening up by Deng Xiaoping, cultural flows from abroad, audio-visual products from Western countries, the influx of pop music from Hong Kong and Taiwan influenced different aspects of Chinese music production. Urban youths from mainland China produced musical genres that interpreted the zeitgeist of the mid-1980s cultural fever: “rock with Chinese characteristics” was born in Beijing, having Cui Jian as a pioneer. Experimentations were temporarily interrupted by 1989 after the students’ protests repression at Tiananmen Square: being the expression of political idealism and rebelliousness some music genres, especially rock, were silenced and censored. However, from the nineties onwards, dakou CDs and tapes – initially imported to China as plastic waste – were illegally resold and spread on the black market. This dissertation describes musical and stylistic influences starting from the nineties during and after the dakou phenomenon: youths who have benefited from these influences (i.e. the musicians and their audience) in order to overcome state restrictions, have in turn opened underground spaces to create and propagate alternative music. As a result, urban subcultures also emerged as a response to the increasing social changes of post-modern China: for linglei youths music (usually de-politicized) is a medium to express alienation, satire and social pressures. Although opposing both traditions and forces of commodification, Chinese alternative bands also relied on local record labels and music festivals to promote themselves. Besides, the marketization of linglei lifestyle also occurred: local and global firms are merchandising bands, promoting clothes and brands.
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Lawrence, Timothy. "After dark : a history of American DJs, discotheques and dance music, 1965-1975." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298735.

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Poritsky, Marc I. "Cleveland and Northeast Ohio's Overlooked Historical Contributions to Underground, Punk, and Alternative Music." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1401293444.

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Books on the topic "Underground music"

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Home, Stewart. Memphis underground. S.l: s.n., 2007.

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Seca, Jean-Marie. Les musiciens underground. Paris: Presses universitaires de France, 2001.

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Blotta, Luciano, and Darrin Holender. Riseup: Stories from Jamaica's underground. [Beverly Hills, Calif.]: Riseup Entertainment, LLC, 2010.

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V, T͡S︡enova, ed. Underground music from the former USSR. Amsterdam: Harwood Academic Publishers, 1997.

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Jube. Revolusi indie label: Musik underground Indonesia. Yogyakarta: Harmoni, 2008.

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Dedekind, Henning. Krautrock: Underground, LSD und kosmische Kuriere. Höfen: Hannibal, 2008.

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Michael, Lavine, ed. Noise from the underground. New York: Simon & Schuster, 1996.

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Hlavsa, Mejla. Bez ohňů je underground. Praha: BFS, 1992.

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Jeria, Leonardo Aller. Dadá: Underground en dictadura. Santiago de Chile: La Calabaza del Diablo, 2011.

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Ethan, Dorf Michael, and Appel Robert, eds. Gigging: The musician's underground touring directory. Cincinnati, Ohio: Writer's Digest Books, 1989.

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Book chapters on the topic "Underground music"

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Firks, Kate. "On the Land, in the Underground." In Music, Subcultures and Migration, 48–64. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003436225-5.

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Barna, Emília. "Birth of an underground music scene?" In DIY Cultures and Underground Music Scenes, 171–82. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-16.

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Becuț, Anda Georgiana. "Between popular and underground culture." In DIY Cultures and Underground Music Scenes, 41–51. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-5.

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Lee, Young-mee, Young-mee Yu Cho, Brandon J. Park, and Jean Yoon. "The Seoul Olympics, Globalization, and “Underground” Music." In You Call That Music, 86–95. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003241652-11.

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Tofalvy, Tamas. "Niche Underground: Media, Technology, and the Reproduction of Underground Cultural Capital." In Popular Music, Technology, and the Changing Media Ecosystem, 59–76. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44659-8_4.

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Straw, Will. "Visibility and conviviality in music scenes." In DIY Cultures and Underground Music Scenes, 21–30. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-3.

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Sanderson, Edward. "An Underground Music Venue in Beijing: fRUITYSPACE." In Fractured Scenes, 205–23. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-5913-6_15.

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Stefanou, Danae. "The underground, dispossession and positionality in Greek experimental music." In Contemporary Popular Music Studies, 259–66. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_24.

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Bennett, Andy, and Paula Guerra. "Introduction." In DIY Cultures and Underground Music Scenes, 1–6. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-1.

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Kaitajärvi-Tiekso, Juho. "Proud amateurs." In DIY Cultures and Underground Music Scenes, 101–11. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-10.

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Conference papers on the topic "Underground music"

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WASH, P., and S. DANCE. "IPOD LISTENING LEVELS ON LONDON UNDERGROUND FOR MUSIC AND SPEECH." In Spring Conference Acoustics 2008. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/17591.

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Waszkiewicz, Elizabeth. "Multidimensional Educational Models Recommended by Innovative Agonology – Examples of Physical Education and Music Education." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003499.

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Almost all types of education are in some sense multidimensional, even if it is difficult to ascribe formal, or passion-driven, experiential, cognitive-behavioral competences closely related to the subject of education to the teaching subject (an individual or a team). From the perspective of the mission of innovative agonology, the most valuable ways, methods, forms and means of educational activities are those whose use (in a session, in a cycle, or as a ‘passion for life’) stimulates as much as possible some aspect of somatic, mental and social health, but also at least one element (component) of survival.From a broader point of view, i.e. the social mission of evidence-based science, the important premise is that although humans are genetically adapted to operate in terrestrial environments, however, they are also active underground, in water, in the air and in space. In each of these environments, one pole of the continuum of survival possibilities accumulates minimal health criteria, while the opposite pole – a long list of factors that mean inevitable death. This diversity of human operating environments and the roles they fulfill within them implies the legitimacy of recommending very complex educational models, some of which require multilevel selection.Apart from individual career paths, swimming and wrestling (even if pursued without the pressure of sports performance) optimally stimulate the somatic dimension of health (hard-respiratory capacity, strength and endurance of the largest muscle groups and flexibility) compared to other sporting activities. The survival dimension is already diverse. For instance, swimming skills increase the chance of survival in an aquatic environment while hand-to-hand combat skills increase the likelihood of effective self-defense in situations of physical aggression. And wrestling is a contact sport (psychophysical activity involving a permanent ‘dialogue of minds and bodies’), so it qualifies as a model that also stimulates the mental dimension of health. Moreover, in general, also the adepts of other martial arts interact in a peculiar way with the centuries-old heritage of the cultures from which these arts originate (social dimension of health). Unfortunately, the effective and attractive status of educational models based on martial arts is depreciated by the pathology of bloody fights of neo-gladiatorship. These spectacles are promoted and camouflaged in the public sphere precisely under the banner of mixed martial arts (the first part of the phrase ‘mixed’ is only 31.25% of the name).Brazilian capoeira is an example of a multifaceted educational model that combines martial art with music. Although innovative agonology is an appropriate science for formulating justifications at the interface between these two arts (martial art and music), the well-established standards of music education are its competition. These standards include respect for centuries-old traditions and multiculturalism, a commitment to routine with an awareness of the unlimited potential for creating beauty and positive emotions. The coordinating perfectionism of the instrumentalists is also admired. However, a hypothesis is justified: ignoring scientific knowledge (including human motor skills) from areas of activity other than music is the cause of, among other things, interpersonal conflicts (for instance teacher-student) and negative effects encompassing all dimensions of health.
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Ward, John V. "Piracy or preservation? The underground dissemination of bootleg recordings on the World Wide Web." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.37.

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Dosa, Ion. "Optimization of Underground Compressed Air Network." In MultiScience - XXXIII. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2019. http://dx.doi.org/10.26649/musci.2019.004.

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Radu, Sorin Mihai, and Andras Iosif. "Improved Mechanised Extraction Technologies in Underground Hardcoal Mines from Jiul Valley-Romania." In MultiScience - XXIX. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2015. http://dx.doi.org/10.26649/musci.2015.011.

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Reports on the topic "Underground music"

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Costa, Pedro. Cultural districts and the evolving geographies of underground music scenes: dealing with Bairro Alto’s mainstreaming. DINÂMIA'CET-IUL, 2015. http://dx.doi.org/10.15847/dinamiacet-iul.wp.2015.15.

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