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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>. "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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Saefullah, Hikmawan. "Transformations of youth resistance: Underground music scene and Islamic politics in post-authoritarian Indonesia." Thesis, Saefullah, Hikmawan (2022) Transformations of youth resistance: Underground music scene and Islamic politics in post-authoritarian Indonesia. PhD thesis, Murdoch University, 2022. https://researchrepository.murdoch.edu.au/id/eprint/65132/.
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The Indonesian underground music scene was once known as the bastion of progressive and radical Leftist politics for urban youths during the Reformasi era (1997-2002). After the fall of Suharto on 21 May 1998, leftist activism in the scene declined, and was followed by the emergence of the right-wing Islamic underground movement and the hijrah movement. Their opposition to democracy and enmity towards minority groups has undermined the scene’s reputation as one of the key elements in Indonesia’s emerging democratic culture. The existing studies on the ‘conservative turn’ have failed to explain the ideological shift of underground subcultural participants towards Islamic conservatism and right-wing Islamism. This study was inspired by this background and aimed to answer the following research question: ‘Why did some underground music scene participants shift to conservative Islam and right-wing Islamism in post-authoritarian Indonesia?’ Drawing from extensive (ethnographic) fieldwork in Indonesia between 2015 and 2018, and informed by subcultural theory, I argue that the transformations of the Indonesian underground music scene including the most recent shift towards conservative Islam and right-wing Islamism reflect the transformations of youth resistance in response to different socio-political and economic conditions that have disempowered and marginalised them. These conditions are both external and internal to the scene. The external factors include post-Suharto’s political stagnancy, suppression and co-optation of Left activists by the state and right-wing groups, the domestication of the underground’s subcultural capital and practices, material inequality, and the lack of economic opportunities. The internal factors include polarisation and fragmentation, informal hierarchies, nihilism, the absence of central figures, and stagnancy within the scene. Due to the absence of coherent leftist activism within the scene, the participants sought for alternative channels to express their dissent, including new ideological and organisational platforms to resist hegemonic cultures and authorities and find solutions to the demoralising effects generated by the above conditions.
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Harrison, Anthony Kwame Pellow Deborah. "'Every emcee's a fan, every fan's an emcee': authenticity, identity, and power within Bay area underground hip-hop." Related Electronic Resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2003. http://wwwlib.umi.com/cr/syr/main.
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Robinson, Richard Cyril. "KAAY's Beaker Street 1966-1977: Late Nights Of Underground Radio Programming, From Little Rock To The Western Hemisphere, On The Airwaves Of The Nighttime Voice Of Arkansa." OpenSIUC, 2009. https://opensiuc.lib.siu.edu/dissertations/294.
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During the 1960s in the United States, AM radio stations began broadcasting an underground format. The purpose of this study is to examine the Beaker Street program on Little Rock's KAAY AM-1090. This show presented non-mainstream programming. Disc jockeys supported alternative points of view, while playing underground music. The 50,000-watt directional AM radio signal at night aired KAAY across the Western Hemisphere. The host, engineer Dale Seidenschwarz, was named Clyde Clifford. Research utilized interviews with Seidenschwarz and KAAY employees. Sources included newspapers, magazine, documents, audio recordings and artifacts. Findings reveal a popular, undocumented radio program. This study tells the significant story of a radio program that people remember and listen to today, now on an FM station.
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Lopez, Ramirez-Gaston Jose Ignacio. "Constructing musical spaces beyond technological Eden a participative initiative for musical interface development based in the Peruvian context /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1460011.
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Thesis (Ph. D.)--University of California, San Diego, 2008.Title from first page of PDF file (viewed Jan. 12, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 111-117.
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Kavanaugh, Philip R. "Solidarity and drug use in the electronic dance music scene." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.39 Mb., 70 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435827.
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Hagen, William Ross. "Norwegian black metal: Analysis of musical style and its expression in an underground music scene (Paganism)." Diss., Connect to online resource, 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1432318.
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Guicherd, Delannaz Xavier. "Entre reliance et syncrétisme : le cas de l'imaginaire psychédélique." Thesis, Université Grenoble Alpes (ComUE), 2016. http://www.theses.fr/2016GREAL011/document.
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Cette thèse s’intéresse à une forme de l’imaginaire : le psychédélisme. Gilbert Durand définit l’imaginaire comme « l’incessant échange qui existe au niveau de l’imaginaire entre les pulsions subjectives et assimilatrices et les intimations objectives émanant du milieu cosmique et social » (Durand, 1960, p. 38). Ainsi, l’imaginaire psychédélique est à appréhender comme lieu de reliance d’une communauté. Comprendre la reliance, c’est analyser les modes dynamiques qui créent les liens - parfois distendus - dans la société post-moderne. Ce concept mêlé à l’imaginaire psychédélique a ouvert les portes de la perception d’une mystique hippie. En intégrant des codes et des formes d’autres cultures au sein du mouvement psychédélique, la jeunesse occidentale à assimilé des modes de spiritualité qui se structurent dans une pensée syncrétique.Détenteur d’une puissance parfois céleste, parfois diabolique, il est. « au centre des bouleversements culturels de la fin des années soixante, il a même prétendu engager la révolution psychédélique et s’est emparé de la thématique spirituelle » (Jezo-Vannier, 2012, p. 8). C’est avec le rock et le rock psychédélique que notre société a construit ce que E. Morin nomme « le star-system ». Par cette approche, il montre que le religieux n’a pas disparu, comme l’avait prédit par ailleurs Gilles Deleuze. Le rock psychédélique et son histoire ont en effet contribué à façonner une part de cette religiosité post-moderne.Cette fabrique des dieux modernes permet d’entrer de plain-pied dans la dimension théorique de cette thèse. C’est au cœur du star-system et de l’imaginaire psychédélique que transparaissent « les rapports de notre perception ordinaire du monde et de celle que nous pouvons avoir parfois, et que la mystique possède continûment, de la réalité ultime et du divin » (Huxley, 1954, p.9). C’est ainsi que notre travail tentera de répondre aux questions suivantes : peut-on entrevoir, dans la musique psychédélique, un mode de reliance ? En quoi est-elle à l’origine des syncrétismes psychédéliques ? Pourquoi ?This thesis deals with a form of this imaginary: psychedelia. Gilbert Durand defines the imaginary as : « the constant exchance that exists at the imaginary level’s between the subjective and assimilative drives and the objective summonses emanating from the cosmic and social middle » (Durand, 1960, p38). Thus psychedelic imaginary is considered as the place of reliance of humanity. Understanding reliance is analyzing the dynamic modes that sometimes creates loose ties in our post-modern society. This concept mingled with psychedelic imaginary has opened the gateway to perceiving a hippie mystic. By integrated codes and other forms of culture, inside the psychedelic movement, the western youth assimilated spiritual and mystic ideas, structured in a syncretic thought.With its sometimes celestial or diabolical power, it was “at the center of cultural turning points in the late sixties, it also allegedly started the psychedelic revolution and took on the spiritual topic” (Jezo-Vannier, 2012, p.8). It is thanks to rock and psychedelic rock that our society built what Morin calls the “star-system”. Edgar Morin’s approach on the star-system shows us that religion has not disappeared like Gilles Deleuze had predicted. Psychedelic rock and its history contributed to shape part of this post-modern religiosity.This modern construction of deities allows us to fully enter into the theoretical dimension of this thesis. It is in the heart of the star-system and the psychedelic imaginary that is showed “the links between our ordinary perception of the world and the one that we sometimes have, and that mysticism constantly possesses, of the ultimate reality and the divine”. (Huxley, 1954, p.9).Can we perceive in psychedelic music a sign of reliance? In what sense is it at the beginning of psychedelic syncretism? Why?
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Peck, RaShelle R. "Imperfect Resistance: Embodied Performances in Nairobi Underground Hip Hop." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397664120.
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Zahir, Sanam. "The Music of Children of the Revolution: The State of Music and Emergence of the Underground Music in the Islamic Republic of Iran with an Analysis of its Lyrical Content." Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/193427.
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Lyrics of the newly emerged underground music provide us with a first hand account of youth life in the Islamic Republic; a lifestyle that shocks those who have not lived in contemporary Iran and a rhetoric that challenges what the international community believes. From singing about their nightlife and relationships to socio-economical and political issues, Iranian artists are using their music as a vehicle of self expression and resistance. Examination of the genres and lyrical content of both authorized and underground music in Iran shows that the Islamic government's policies and restrictions on music has not limited or prevented the growth of music. Musicians have been obliged to create Iranian music different from the pre-revolutionary music is terms of rhythm and content, resulting in the growth of Iranian music and emergence of different genres and lyrical content unique to post-revolution Islamic Iran.
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Benhaïm, Sarah. "Aux marges du bruit. Une étude de la musique noise et du Do it Yourself." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH140/document.
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Objet d’un intérêt tardif dans la recherche universitaire, la musique noise représente pourtant une forme d’art emblématique de l’underground sonore. Elle porte et cristallise une approche radicale en faisant du bruit sa matière, en se jouant de la forme et du développement, en hybridant ses territoires stylistiques. Les pratiques de jeu ne signent plus la suprématie de l’instrument ni de la composition, mais se placent sous le régime d’une expérimentation ludique et bricoleuse. On n’évalue plus la qualité musicale selon le niveau de compétence technique de l’artiste, tandis que les modalités d’écoute sollicitent de manière spécifique le corps et l’environnement. Les pratiques de production, d’organisation et de diffusion de la musique, empruntes de l’éthos du Do it Yourself (DIY) placent l’autonomie, la polyvalence et l’amateurisme au cœur de ce monde de l’art. A partir d’une approche interdisciplinaire marquée par la musicologie, l’esthétique et les sciences sociales, cette thèse entend questionner, à partir d’analyses musicales, d’archives de presse, d’enquêtes, de cartographies et d’une ethnographie menée au sein de la scène parisienne, comment la musique noise et les pratiques sociales qui l’accompagnent nous interrogent sur nos manières conventionnelles d’appréhender ce qu’est la musique et même une « bonne » musique, la figure du musicien, les intermédiaires artistiques ou la scène du concert, au regard de ce qui semble sans doute constituer un nouveau paradigme contemporain de l’expérimentationAlthough noise music has only recently become an object of interest for academic research, it still represents a form of art emblematic of the underground music scene. It is characterized by a radical approach which implies using noise as work material, playing with form and development, and hybridizing its stylistic territories. This approach is reflected by playing practices in which the emphasis is no longer laid on the supremacy of instruments and composition, but rather on playful and makeshift experimentation. Musical quality is not assessed on the artist’s technical skills anymore, while the listening conditions call for a specific implication of both body and environment. The practices of production, organization, and diffusion of music, borrowing from the éthos of DIY, place autonomy, versatility, and amateurism at the heart of this art world. This PhD research, based on musical analyses, press archives, field surveys, topographies, and an ethnographic study of the Parisian scene, proposes an interdisciplinary approach marked by musicology, aesthetics, and social sciences. Its aim is to question the way noise music and its specific social practices challenge the manner in which we conventionally apprehend what we consider as music, and even “good” music, the image of the musician, the artistic intermediaries or the stage, in light of what seems to constitute a new contemporary paradigm of experimentation
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Hagen, Trever Thomas. "Musicking in the merry ghetto : the Czech underground from the 1960s to the 2000s." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/3726.
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By investigating the case of the Czech Underground from the 1960s to the 2000s, this thesis seeks to explore ways in which an enacted cultural space enables acts of ‘togetherness’ and as such ‘protects’ or ‘immunizes’ individuals and groups from perceived forms of oppression. The data presented in this thesis is taken from an ethnographic and archival study of the Underground through interviews, participant observation and archival research in the Czech Republic, Hungary and Poland. I describe how the term ‘Underground’ does not refer to a physical place but rather to a conceptual and symbolic space or set of occasions where dispositions are learned, maintained and adapted and where the world can be viewed, imagined and acted upon. I describe how that space was created through the location, arrangement and informal learning about how to appropriate a cluster of cultural practices and materials: physical appearances, actions, felt dispositions, mental states and objects. For those who became part of this Underground, to varying degrees, this cluster of cultural practices facilitated embodied, emotional and cognitive postures toward social and cultural life in Czechoslovakia and the Czech Republic. These postures were in turn a platform for collective experience. I examine actors as they furnished this Underground cultural space through locating, opening up and crafting available aesthetic resources in local environments. My focus is on ‘non-official’ musicking practices in Czechoslovakia starting from the 1960s such as listening to the radio, seeking out records tapes, listening to LPs, growing long hair, illegal concerts, and home-studio recordings. Within these practices, I look to how aesthetic material—raw, un-tuned, heavy—took hold and provided a resource for the bases of community activity. Through these grounded examples, I show how a group of people assembled a parallel aesthetic ecology that allowed for acts of rejecting and communing, the doing of resistance. In this way, I attempt to show how resistance became a form of immunity or ‘cocooning’ against unwanted cultural material and thus a technology of health at the community level.
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Steward, Theresa Parvin. ""I am the brave hero and this land is mine" : popular music and youth identity in post-revolutionary Iran." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/9574.
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Over the past decade, popular music in Iran has steadily gained recognition beyond its borders. The Western media has increasingly provided an idealised and romanticised view of music-making in the Iranian underground. These reports create an image of popular musicians united under the same political and social challenges, while struggling to be heard against an oppressive regime. Contrary to these often overly politicised accounts, the current Iranian youth generation continues to explore its identity through the creation of new hybridised forms of popular music. This dissertation utilises first-hand accounts of musicians and those involved in Iranian popular music to analyse the current state of popular music in Iran since 1979. By recognising the heterogeneity of the Iranian post-revolutionary pop world, this study distinguishes the individual voices and experiences that make up the dynamic and multifaceted popular music scene in young, urban Iran and the Iranian diaspora. Opening with a historical account of music’s fluctuating relationship with regime censorship, this dissertation illuminates the many contradictions of popular music practice in a controlled climate that are also embedded within youth identity. Dichotomies continually emerge during this discourse, including globalisation vs. localism, authentic vs. borrowed, and home vs. homeland. These themes are prolific throughout the discussions of the illegal underground music scene in Tehran, the complexities of music in exile, and the final discussion of the role of popular music in the 2009 presidential election and subsequent Green Movement. Popular music continues to serve as an outlet for pleasure and entertainment while simultaneously representing the diverse voices of the young generation of Iranians in the world, as they seek to assert their identity and establish a future of their own.
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Rossi, Camilla. "WEB 2.0: THE INDUSTRY OF PARTICIPATION: An Actor-Network Theory Account of Myspace in the Case of Underground Music." Doctoral thesis, University of Trento, 2010. http://eprints-phd.biblio.unitn.it/220/1/dissertation_Camilla_Rossi.pdf.
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Since the contested label of “Web 2.0” was put forward in 2004, the hype and buzz around it spread enormously both on a media and academic level.
In particular, literature on Web 2.0 and its tools is often either driven by deterministic assumptions, or presents partial accounts of the issue. Indeed, many discourses surrounding Web 2.0 embed “narratives of inevitability and technological determinism” (Bigge, 2006: 1) and belong to a long history of studies on the web and networked communication technologies that often have claimed a “revolutionary” role of the next new medium, a history that usually saw the failure of those claims, which should be challenged once and for all. However, many critical studies that would be expected to debunk the “dominant rhetorics” of Web 2.0 in fact partially accomplish the mission, since they often fail to properly account for all the aspects of Web 2.0. I will propose a "theoretical remediation" (Beer, 2008) by adopting the theoretical framework of Science and Technology Studies, and in particular, the perspective of Actor-Network Theory (ANT).
Within this framework and perspective, I will investigate in my study of the Social Networking Site Myspace and some of its underground music-related users whether and how the alleged processes of democratization, user empowerment and active participation can be retrieved.
I carried out my study with the methodology of cyberethnography, and, more specifically with participant observation and in-depth interviews.
I conclude by highlighting how, in light of my work, Web 2.0 could be properly called "the industry of participation", for highlighting how user participation is not completely voluntary and aware, but instead, embedded into business processes. Also, a “missing democratization” emerged from my research.
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Farrugia, Rebekah L. "Spin-sters women, new media technologies and electronic/dance music /." Diss., University of Iowa, 2004. http://ir.uiowa.edu/etd/112.
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Mohammadi, Behrang. "The semiotics of artificial and natural reverberation in underground electronic club music : How DJs use performance space acoustics and reverberation to shape sound." Thesis, Luleå tekniska universitet, Medier ljudteknik och upplevelseproduktion och teater, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-68739.
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Ligot, Damien. "Trans-musicalité « taike » : Distinction d’une nouvelle « taiwanité » au sein d'un underground local (1990-2010)." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30022/document.
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Dans les années 1990 et 2000, la scène musicale underground taiwanaise a vu naître successivement le Taik – ou Rock Taike 台客搖滾 taike yaogun – puis le Taiwan Traditional Rap, ou 台灣味唸歌 Taiwan wei niange. Ces courants « trans-musicaux » se rejoignent sur de nombreux points tels que la revendication de « traditions » populaires locales, accompagnée cependant d'une forte complaisance au métissage culturel, et par-dessus tout d'un besoin de se définir – de s'identifier – en dehors des clichés aliénants du bon-goût, dictés de manière hégémonique par la culture « dominante » centrée depuis la fin des années 1940 sur le modèle de la République de Chine. Appuyée par un travail de terrain réalisé entre 2005 et 2010 selon les principes de l'observation participante, et pensée à la lumière des cultural studies et d'ouvrages d'auteurs tels que Dick Hebdige et Stuart Hall, cette thèse propose une approche « sensible » d'une sous-culture particulière, tempérée d'autre part par une critique des théories développées par Pierre Bourdieu dans La Distinction, Critique sociale du jugement. Elle tente ainsi – au travers du prisme trans-musical – de définir la place occupée par la sous-culture locale « Taike » dans l'histoire globale d'autres sous-cultures comparables, et s'impose alors en contexte tel un trait d'union entre Taiwan et le reste du mondeIn the 1990's and 2000's, the underground music scene in Taiwan successively gave birth to the Taik – also called Taike Rock 台客搖滾 taike yaogun – then to Taiwan Traditional Rap 台灣味唸歌 Taiwan wei niange. These "trans-musical" currents are similar in many issues such as the claim to local folk traditions, accompanied however by accomodating a strong cultural mix and by a need to define – to identify – themselves outside the alienating good taste, so dictated since the late 1940's by the hegemonic "dominant" culture focused along the lines of the Republic of China. This thesis proposes a ''sensitive'' approach to a particular subculture, furthermore tempered by a critique of theories developed by Pierre Bourdieu in Distinction: A Social Critique of the Judgment of Taste. It has been backed up by field studies conducted between 2005 and 2010 according to the principles of the participant-observer and trends of thought enlightened by cultural studies and works of authors such as Dick Hebdige and Stuart Hall. It attempts also – through the prism of trans-musicality – to define the place of the local "Taike" subculture in the global history of other comparable subcultures, as an essentiel link between Taiwan and the rest of the world
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Linhares, Maria Juliana Figueredo. "O fazer artístico de Escurinho sob perspectiva etnomusicológica." Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8408.
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arquivototal.pdf: 9452549 bytes, checksum: 94fb44a8fcb51bb2263864cb155537c3 (MD5)Made available in DSpace on 2016-07-19T19:11:55Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 9452549 bytes, checksum: 94fb44a8fcb51bb2263864cb155537c3 (MD5) Previous issue date: 2015-03-30
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Research on the artistic career of the composer, percussionist and singer Jonas Epifânio dos Santos Neto, known as Escurinho present in the urban music scene in João Pessoa since the late 1980s. To interpret how to weave the threads of popular music during the life of a performer, the theoretical and methodological bases of ethnomusicology (BLACKING, 1995 MUKUNA, 2008, MERRIAM, 1980) dialogue with the bases of the interpretive anthropology (GEERTZ, 2008), history of life (CHIZZOTTI, 2006), the sociological "structuralist constructivism" (BOURDIEU, 1996), philosophy (BAKHTIN, 2006), and visual anthropology (HARTMANN, 2001). The work seeks to understand the history of life, not just as an individual artistic saga, but as a reflection of the trends of urban social movements in local and global level. The results it’s a tour by the music scene of the city of João Pessoa, through Escurinho reports, and the analysis of his work.
Pesquisa exploratória qualitativa, sobre a trajetória artística do compositor, percussionista e cantor Jonas Epifânio dos Santos Neto, conhecido como Escurinho, presente na cena de música urbana de João Pessoa, desde o início dos anos 1980. Para interpretar de que forma se tecem as tramas da música popular no decurso da vida de um sujeito, as bases teórico-metodológicas da etnomusicologia (BLACKING, 1995, MUKUNA, 2008, e MERRIAM, 1964, entre outros) procuraram dialogar com as bases da antropologia interpretativa (GEERTZ, 2008), da história de vida (CHIZZOTTI, 2006), do “construtivismo estruturalista” sociológico (BOURDIEU, 1996), da filosofia (BAKHTIN, 2006). O trabalho busca compreender essa história de vida, não apenas como uma saga artística individual, mas como um reflexo das tendências de movimentos sociais urbanos em nível local e global. O resultado é um perpassar pela cena de música underground da cidade de João Pessoa, através dos relatos de Escurinho, e pelas análises de sua obra.
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Bera, Camille. "Le Black Métal : un genre musical entre transgression et transcendance." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR087.
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Né à la fin des années 1980 en Scandinavie, le Black Metal est un genre musical underground, descendant du Heavy Metal. Nous avons tenté, dans cette thèse, de reconstituer tout d’abord sa genèse, avant de montrer comment il a construit son esthétique, au travers des concepts de la transgression et de la transcendance. Grâce à une analyse fondamentalement pluridisciplinaire, nous avons observé un grand nombre de paramètres caractéristiques du genre en convoquant un panel conséquent de groupes, majoritairement européens. Il est ici question des aspects musicaux, détaillés grâce à des analyses du langage harmonique, mélodique et rythmique, ainsi que des techniques de jeux instrumentales. Une place importante est aussi accordée à l’observation minutieuse des textes. Les attitudes scéniques et l’iconographie du Black Metal sont aussi des facettes auxquelles nous avons consacré de nombreux paragraphes au sein de cette recherche doctorale. Emaillées des références littéraires, philosophiques et spirituelles des musiciens, l’éthique, les idéologies, les croyances représentent également d’incontournables clefs de lecture en vue de la compréhension de ce genre déjà trentenaire et encore insuffisamment traité au niveau universitaire en FranceBlack Metal is an underground musical genre, descended from Heavy Metal and born in the late 80s in Scandinavia. In this dissertation, we are aiming to reconstruct its genesis before showing how it builds its aesthetics alongside the concepts of transgression and transcendence. Taking a fundamentally multidisciplinary perspective, we aim to maximise the genre’s characteristic parameters by addressing a large number of bands, mostly from Europe. The analysis addresses both the lyrics and the accompanying music, including the harmonic, melodic and rhythmical elements of the speech and the various instrumental techniques. Black Metal’s stage attitudes and iconography are also important contributions to the overall modes of expression. They have all been analysed in the context of the musicians’ personal ideologies, ethics, and beliefs, including their literary, philosophical and spiritual aspects, to provide a holistic understanding of this thirty-year-old genre
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Lentz, Alycia Faith. "Ready to blow your mind: Andy Warhol's Exploding Plastic Inevitable." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3128.
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Andy Warhol's Exploding Plastic Inevitable (EPI) was a drug-fueled rock concert-cum-multimedia art event where layers of mediation mixed with immediate experience: The Velvet Underground performed their innovative music in front of films of themselves performing, Factory Superstars danced and performed poetry, various Warhol films projected on the walls, flashing lights flickered on mirrored surfaces, and a crowd of spectators – both famous and unknown – packed in to see and be seen, to dance and trip into the early hours of the morning. The experience of the EPI was a potent combination of alienation, mediation, and commercialization.
The EPI was a promotional vehicle for Warhol, Warhol's Factory crew, and the Velvet Underground, but is also a complex example of spectacle that has been under-analyzed in recent scholarship. The EPI's unabashed emphasis on marketing, packaging, consumer goods, and empty celebrity are all manifestations of fears of late capitalist excess, but beneath the veneer of vapidity was an undercurrent of counterculture political activism and social awareness. Original contributions include cultural analysis, interpretation of contemporary reviews and reports, examination of the event's lack of art historical presence, and incorporation of music scholarship into the Warhol historical canon.
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Akoto, Philip. "Menschenverachtende Untergrundmusik? Todesfaszination zwischen Entertainment und Rebellion am Beispiel von Gothic-, Metal- und Industrialmusik." Münster Telos-Verl, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2777933&prov=M&dok_var=1&dok_ext=htm.
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Bronzi, Thomas <1992>. "MUSICA UNDERGROUND E SPAZI DIGITALI: Alla ricerca di modalità e usi alternativi." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12706.
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Il seguente studio è un’analisi discorsiva sull’uso del Web e le modalità di ascolto della fan base di musica giapponese alternativa. Numerosi sono gli studi sulla musica underground del Giappone (Milioto Matsue 2008; Condry 2004, 2012; Novak 2011, 2013, 2017; Manabe 2017; Alarcon Jimenez 2008), che spesso sottolineano la carica sovversiva e innovativa della musica. La natura del Web 2.0 tuttavia confonde i ruoli di creatori e fruitori (Baym 2010). In che termini gli ascoltatori di questa musica elaborano delle strategie di ascolto e condivisione innovative? Selezionati quattro filoni guida (noise, psichedelia, idol underground e vaporwave), l’analisi procede per tipologie di comunità e il loro confronto. A seconda dello spazio virtuale si noteranno diverse tecniche di opposizione al “mainstream”, concetto fluido e spesso presente anche per la formazione di un’identità collettiva. L’analisi dimostra diversi tentativi di realizzazione di un’alternativa musicale da parte degli ascoltatori, ma anche la presenza di un’omogeneizzazione e standardizzazione di gusti e modalità d’ascolto.
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Hedin, Martin. "En studie av antisemitismen i texterna hos tre vit makt-band." Thesis, Högskolan Dalarna, Samhällskunskap, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:du-1218.
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Denna uppsats handlar om förekomsten av Antisemitism i den svenska s.k. Vit makt-musiken. Uppsatsens syfte är att kartlägga förekomsten av antisemitism i tre vit makt- band: Pluton Svea, Storm och Dirlewanger. Analysen sker genom att texterna till två album av varje band studeras. Metoden är både kvalitativ som kvantitativ och bland annat så undersöks olika typer av antisemitiska uttalanden som därefter nivåsätts enligt en, av författaren, modifierad skala konstruerad av forskaren John C.G. Röhl. Resultatet av denna undersökning visar att antisemitism är ständigt närvarande i denna musikstil. Dock tar den sig olika uttryck beroende på vilket band det gäller. I de album som är producerade under 2000-talet tycks även en viss nedtoning av den våldsammaste formen av antisemitism kunna ses.
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Kuylenstierna, Adam. "Underground in the Cloud : En kvalitativ studie om den digitala musikplattformen Soundcloud." Thesis, Stockholms universitet, Institutionen för journalistik, medier och kommunikation (JMK), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-58932.
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Under 2000-talet har medie- och musikklimatet varit i omstöpning. Förutsättningar för att dela, distribuera och upptäcka musik har förändrats i grunden. Soundcloud, en digital musikplattform som startade sin verksamhet hösten 2008, står på många sätt i centrum för denna utveckling. Det övergripande syftet med föreliggande uppsats är att utifrån ett antal ämnesområden kopplade till teknik och musik, sociala funktioner och relationer, ett förändrat musiklandskap samt Soundclouds samarbete med Audible Magic tematiskt analysera och problematisera den digitala musikplattformen Soundcloud med utgångspunkt i kvalitativa intervjuer med artister/producenter/DJ:s verkandes inom den elektroniska scenen. Mer specifikt behandlas användarnas förhållning till upplevelsen av musik genom den särskilda teknologi och grafiska inramning som Soundcloud tillhandahåller samt de sociala funktioner som implementerats. Vidare problematiseras synen på Soundcloud som ett community, förhållandet mellan global och lokal tillhörighet samt hur artister respektive lyssnare förhåller sig till ett nytt medie- och musikklimat. Slutligen belyser uppsatsen Soundclouds nyligen initierade partnerskap med Audible Magic – ett företag som specialiserat sig på automatiserad identifiering av medieinnehåll. I tidigare forskning behandlas den så kallade modscenen samt den forskning som bedrivits kring det komplexa förhållandet mellan musik, teknologi och sociala praktiker. Det teoretiska ramverket är baserat på Chris Andersons ”Long Tail”-teori, med betoning på demokratiseringen av distributionsmedel respektive produktionsverktyg samt nya filter för urval och sammankoppling mellan utbud och efterfrågan. Vidare berörs Gerd Leonhards samtidsforskning om det nya medie- och musikklimat som står inför dörren. Studien har belyst Soundclouds distinkta grafiska gränssnitt och sociala funktioner och dess inverkan, i både positiv och negative bemärkelse, för hur musik upplevs. Studien visar att Soundcloud kan ses ett steg framåt i processen att göra delning av musik i digital tidsålder mer social, en utveckling som emellertid bromsas av faktum av att banden mellan användarna i många fall är allt för svaga, vilket bland annat beror på Soundclouds allt för kraftfulla filtrering- och urvalsmekanismer. En konsekvens av detta är att Soundcloud i sig ofta inte ses som ett community, utan blott som ett verktyg eller en länk mellan lokala noder. Denna slutsats stärks av faktum att samtliga informanter framhöll lokal tillhörighet som grundläggande. Musikaliska samarbeten via en digital musikplattform som Soundcloud menar man aldrig kommer att kunna ersätta det kreativa utbyte som sker fysisk mellan människor. Partnerskapet med Audible Magic är ännu i ett tidigt stadium. Studien visar att samarbete kan få både negativa och positiva följder. Det negativa består i att DJ-mixar kan komma att försvinna från Soundcloud. Det positiva i att en ökad upphovsrättslig kontroll kan fungera som ett incitament för att göra artister mer originella i sitt arbete
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Vjaclovský, Jaromír. "Centrum Ponava Brno, Královo Pole." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2014. http://www.nusl.cz/ntk/nusl-226756.
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My diploma thesis is mainly focusing on analyzing the potential of chosen site and it’s possibilities to be used for building a community center. Designed building should serve as a starting point for revitalization of Ponava. It is designed in a way, which makes this building an icon of the whole revitalization process and also is offering a wide variety of cultural events. In a combination with proposed solution for traffic and people flow a meeting point for a wide spectrum should be achieved with designed building as a podium for city life. Office block is then stepping out a bit from this coulisse and is the most dominant part which is supporting the other cantilevered volumes. By doing so, the important role of municipality is captured in the image of the building itself.
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Kemp, Kenia. "Grupos de estilo jovens : o Rock Underground e as praticas (contra) culturais dos grupos punk e thrash em São Paulo." [s.n.], 1993. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279976.
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Orientador : Ana Maria de NiemeyerDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Não informado.
Abstract: Not informed.
Mestrado
Mestre em Antropologia Social
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Aguiar, Victor Luiz Batista. "An?lise de modelo conceitual de simula??o de fluxo hidrogeol?gico por meio do m?todo das diferen?as finitas no munic?pio de Te?filo Otoni - MG." UFVJM, 2017. http://acervo.ufvjm.edu.br/jspui/handle/1/1660.
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A crescente demanda pela utiliza??o de recursos h?dricos em nossa sociedade faz com que seja necess?ria a amplia??o dos meios de capta??o de ?gua. As ?guas subterr?neas surgem como alternativa ? capta??o convencional, tendo em vista que o armazenamento da ?gua nas camadas inferiores do solo garanta a manuten??o da qualidade deste recurso, uma vez que passam por processos naturais de filtra??o. Nesse sentido, a caracteriza??o dos sistemas aqu?feros por meio de modelagem matem?tica surge como ferramenta de aux?lio na compreens?o do fluxo subterr?neo local. A presente pesquisa tem como principal objetivo analisar o comportamento hidrogeol?gico do munic?pio de Te?filo Otoni - MG, com base em simula??es oriundas de modelos conceituais, pelo m?todo das diferen?as finitas. Por meio de simula??o de propriedades influentes no transporte h?drico como taxa de recarga, vaz?o de bombeamento de po?os e condutividade hidr?ulica, foi poss?vel observar as varia??es nos valores m?ximos e m?nimos de carga hidr?ulica em pontos discretizados nos limites do modelo conceitual proposto, auxiliando assim no entendimento dos resultados obtidos.
Disserta??o (Mestrado Profissional) ? Programa de P?s-Gradua??o em Tecnologia, Sa?de e Sociedade, Universidade Federal dos Vales do Jequitinhonha e Mucuri, 2017.
The growing demand for the use of water resources in our society makes it necessary to expand the means of abstraction of water. Groundwater emerges as an alternative to conventional abstraction, owing to the storage of water in the lower layers of the soil ensures the maintenance of the quality of this resource, since they undergo natural filtration processes. In this sense, the characterization of the aquifer systems through mathematical modeling appears as a tool to aid in the understanding of the local underground flow. The present research has as main objective to analyze the hydrogeological behavior of Te?filo Otoni - MG, based on simulations derived from conceptual models, by the finite difference method. By means of simulation of influent properties in the water transport as recharge rate, well pumping rate and hydraulic conductivity it was possible to observe the variations in the maximum and minimum values of hydraulic head in discretized points within the limits of the proposed conceptual model, thus helping in the understanding of the results obtained.
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Westling, Jonas. "Pengarna som inte kommer fram : Den ekonomiska fördelningsproblematiken i klubbmusik Sverige 2015." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-21337.
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Denna uppsats problematiserar hur kollektiva förvaltningsorganisationer fördelar pengar insamlade från offentligt framförd klubbmusik samt undersöker hur etablerade dj’s och producenter ser på dagens system och tror sig påverkas av detta. Med djupintervjuer av fyra personer undersöker uppsatsen även hur dessa ser på rapportering av den spelade musiken, vilka problem som kan uppstå och om det finns tekniska möjligheter att underlätta för korrekt fördelning. Resultaten visar att intervjupersonerna skiljer sig åt i vilken typ av karriär de har och därmed hur man förhåller sig till dagens system. Ingen ställde sig dock positiv till att rapportera in spellistor med vad de spelat som dj’s, man lyfte även fram problemet med att ersätta musik som spelas men ännu inte släppts officiellt. Det framkom också att vi idag har tekniska möjligheter att övervaka vad som spelas genom användandet av akustiska fingeravtryck. Jag diskuterade att det är först när ett sådant system är på plats som vi kan se hur mycket fel dagens pengar fördelas.
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Moon, Shinwon. ""A marginalized music?" : underground rock music culture in Seoul since the mid-1990s." Thesis, 2005. http://hdl.handle.net/10125/11755.
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Woods, Bret D. Gunderson Frank D. "Industrial music for industrial people The history and development of an underground genre /." Diss., 2007. http://etd.lib.fsu.edu/theses/available/etd-07092007-130416/.
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Thesis (M.M.) Florida State University, 2007.Advisor: Frank D. Gunderson, Florida State University, College of Music. Title and description from dissertation home page (viewed 10-9-2007). Document formatted into pages; contains 194 pages. Includes biographical sketch. Includes bibliographical references.
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Keller, Robert Clendinning Jane Piper. "Mapping the soundscape Rhythm and formal structure in electronic dance music /." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-12112003-214228/.
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Thesis (M.M.) -- Florida State University, 2003.Advisor: Jane Piper Clendinning, Florida State University, School of Music. Title and description from thesis home page (viewed 9-29-04). Document formatted into pages; contains 76 pages. Includes biographical sketch. Includes bibliographical references.
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Milioto, Matsue Jennifer. "Performing underground sounds : an ethnography of music-making in Tokyo's hardcore clubs /." 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3108099.
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De, Silva Dayaneetha. "Taking on the big boys : rock music and oppositionality in Singapore." Thesis, 1996. http://hdl.handle.net/1885/144345.
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Butler, Mark J. "Unlocking the groove rhythm, meter, and musical design in electronic dance music /." 2003. http://www.oregonpdf.org.
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Cline, John F. "Permanent underground : radical sounds and social formations in 20th century American musicking." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5435.
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Musical labor entered a new phase of alienation following the advent of recording technology in the late 19th century. Whereas prior to recording musicians had a relatively direct relationship with their audience—the sum of the two groups constituting “musicking”—sound reproduction created a spatial and temporal dislocation between them. Most narratives of American popular music trace out a particular genre formation, and relate it to the culture from whence it emerged. By contrast, this dissertation begins from the point where musicking began to disengage from commodification, both at the level of social formation and of the creation of sound itself. Drawing on anthropologist Pierre Clastres’ notion of “Anti-State” modes of organization and cultural critic Ivan Illich’s concept of “conviviality,” or a human-centered rather than mass production-oriented use of tools—in this case musical instruments both handmade and modified—each chapter of this project tackles a different dimension of the quest for autonomous musicking, or a “permanent underground.” Chapter 1 examines the organizational principles that have run in parallel to the bureaucratic, capitalist manifestation of a “music industry” in the 20th century. Beginning with a critique of either/or fallacy of the opposition posited between “modernism” and “nostalgia,” the reminder of the chapter demonstrates the reconciliation between these two aesthetic and political positions; topics include the seizure of public space by itinerant blues musicians in the rural-industrial prewar South, the self-released recordings of gospel artists after WWII, the formation of experimental jazz collectives in the 1960s, and the relationship between psychedelic music and cults/communes in the 1960s. Chapter 2 critiques the function of genre in musicking as means to a reproducible sonic commodity, and argues for “noise” as an aesthetic intervention that disrupts the saleable nature of music—a political act in itself. Chapter 3 suggests several strategies for achieving “noise.” These include the re-purposing of industrial machines as musical instruments, the incorporation of foreign musical traditions, and the use of collage as a formal principle. The final chapter profiles six collectives that have emerged since the late 1960s that adhere to the aesthetic and political values established throughout this dissertation.text
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"Notes from the Underground: Explorations of Dissent in the Music of Czech-born Composers Marek Kopelent and Petr Kotík." Master's thesis, 2015. http://hdl.handle.net/2286/R.I.36428.
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abstract: Since the collapse of the Soviet Union, musicologists have been delving into formerly inaccessible archives and publishing new research on Eastern Bloc composers. Much of the English-language scholarship, however, has focused on already well-known composers from Russia or Poland. In contrast, composers from smaller countries such as the Czech Republic (formerly Czechoslovakia) have been neglected. In this thesis, I shed light on the new music scene in Czechoslovakia from 1948–1989, specifically during the period of “Normalization” (1969–1989).
The period of Normalization followed a cultural thaw, and beginning in 1969 the Czechoslovak government attempted to restore control. Many Czech and Slovak citizens kept their opinions private to avoid punishment, but some voiced their opinions and faced repression, while others chose to leave the country. In this thesis, I explore how two Czech composers, Marek Kopelent (b. 1932) and Petr Kotík (b. 1942) came to terms with writing music before and during the period of Normalization.Dissertation/Thesis
Masters Thesis Music 2015
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Gomes, Rui Telmo. "Fazer música Underground: estetização do quotidiano, circuitos juvenis e ritual." Doctoral thesis, 2012. http://hdl.handle.net/10071/6058.
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A estreita relação entre música popular e culturas juvenis é objeto de uma longa
tradição de pesquisa. A prática musical juvenil underground é uma sua demonstração
particularmente enérgica. Para lá de uma certa imagem espetacular e marginal, o underground
é uma esfera social marcada simultaneamente pela densificação relacional e transitoriedade
dos percursos musicais. Procuro neste estudo analisar a construção social do underground,
através da elaboração dos seguintes planos teóricos: (i) socialização musical desde a formação
do gosto em família e entre amigos até à aprendizagem autodidata; (ii) modos de organização
do trabalho de auto-produção musical e formação de circuitos subterrâneos; (iii) dimensão
fenomenológica, temporal e simbólica do processo ritual focado no concerto. Concluo que a
experiência underground é não tanto um rito de passagem mas sobretudo um rito de
procrastinação – um expediente proactivo de adiar simbolicamente a entrada na vida adulta e de preservar a prática criativa como parte central do quotidiano.The close relationship between popular music and youth cultures has a long research tradition. Underground music making is arguably one of the liveliest demonstrations of such relationship. Apart from its spectacular and marginal image, the underground is a social sphere simultaneously defined by dense social relations and transient musical pathways. My aim is to study underground’s social construction, for which purpose I elaborate on three main theoretical issues: (i) musical socialization from early acquired taste among family and friends to later self-taught playing; (ii) self-production methods and do-ityourself networks configuration; (iii) phenomenological, temporal and symbolic dimensions of the gig ritual process. Underground experience is to be seen not so much as a rite of passage, I conclude, but in fact as a procrastination rite – a proactive ploy for symbolically delaying adulthood and preserving creative practice as a significant everyday feature.
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Příhodová, Zuzana. "Melodie z podzemí. Hudební underground na severu Čech v období normalizace." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-338791.
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This Diploma Thesis deals with the musical underground in northern Bohemia during the period of so-called normalization. It aims to summarize the characteristics of the underground movement and conditions for music production in the informal culture, and deals mainly with the underground rock scene. The theoretical part focuses on understanding the underground movement from today's perspective and is critical to the created underground phenomenon by studying the written sources and by the analysis of interviews with witnesses. An authentic narration obtained by the oral history brings to the topic a personal view and conviction selected representatives, who, regardless of historical circumstances, were managed to mantain their inner freedom. Samples lyrics and the interpretation of the positions of the narrators are intended to help readers find other than just mythicised view of the underground in Czechoslovak history.
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Makovcová, Demartini Lenka. "Biblické motivy v textech české pop music 60. a 70. let dvacátého století." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-324580.
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The thesis "Biblical motifs in Czech pop music of the 1960s and the 1970s of the twentieth century: The function and using of biblical motifs for pop music lyrics with the original biblical background and message" introduces the academic framework of the topic within the first chapter: the definition of the terms, the criteria and method for selecting the motifs and lyrics used. Then, the position of Czech pop music in the cultural and political context of the period is explained, which is a relevant part of the topic itself. Also an outline of the academic reflection of the related topic is referred to as well as the function of biblical motifs in other styles of music (rock, folk and underground music) with the emphasis on the projection of the stylistic differences into using these topics for the lyrics. The following four chapters are probes into the pop music and biblical motifs issue.They are meant as the reflection of the the inner dynamics of the genre as well: in the second and third chapters the selected biblical motifs (general motifs, prayers, biblicisms and biblical characters) are enlisted and the anylysis of their funcion and using for various lyrics is provided in comparison with their biblical message and introducing the original loci in the B ible. The fourth chapter is focused on...
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Nell, Wendy Desre. "Afrikaanse liedtekste in konteks : die liedtekste van Bok van Blerk, Fokofpolisiekar, the Buckfever Underground en Karen Zoid." Diss., 2014. http://hdl.handle.net/10500/18832.
Full textAbstract:
Text in AfrikaansDie doel van hierdie studie is om op die liedtekste van die kunstenaars, Bok van Blerk, Fokofpolisiekar, The Buckfever Underground (en Toast Coetzer) en Karen Zoid te fokus en om te bepaal wat hulle funksie in die eietydse Afrikaanse kultuurlandskap is, en wat hulle rol in die definiëring van kulturele identiteit is. In hierdie studie sal daar ook klem gelê word op die sosiopolitieke faktore wat tot die opbloei van die Afrikaanse musiekbedryf gelei het. Deur die analise van dié kunstenaars se lirieke, sal ek vasstel of hulle wel betekenisvolle werk van literêre gehalte lewer. Ek het spesifiek hierdie musikante gekies omdat hulle jong eietydse musikante is.
The purpose of this study is to focus on the song texts of artists, Karen Zoid, Fokofpolisiekar, The Buckfever Underground (and Toast Coetzer) and Bok van Blerk and to determine their function in today’s cultural reality, and whether these musicians and their music have an influence on today’s youth and their search for a Cultural Identity. This study will also focus on the socio-political factors that led to the rise of the Afrikaans Music Industry. By analyzing these artists’ lyrics, I want to determine whether they are significant works of literary quality. These musicians were chosen because they are regarded as young contemporary musicians.
Afrikaans & Theory of Literature
M.A. (Afrikaans)
50
Kašparová, Markéta. "Role hudební skupiny Extempore v českém undergroundu." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-335829.
Full textAbstract:
This thesis deals with the music group Extempore since its foundation by Jaroslav Jeronym Neduha in 1973 until its annulment by Mikolas Chadima in 1981. The thesis shows the important moments of the group and its members. Jaroslav Jeronym Neduha was Extempore's frontman by the year 1979 then he left the group and its management handed to Mikolas Chadima. Both gave to Extempore its characteristic style in the musical aspect, lyrics and performance. Extempore gained lots of fans, so the State Security focused on them as a obnoxius music group. The thesis has the aim to reveal Extempore's role in Czech musical underground. Firstly I defined alternative culture in relation to underground and official culture with focus to the music. Also I described Prague's unofficial big beat scene between 1973 - 1981. Primarily the thesis is focused on alternative music scene and musical underground. The review also contains other noncommercial movements during that time - folk association Safran and younger musical movement New Wave that inspirated Chadima's Extempore. Since the 1979 Extempore has been more and more pressed to the illegality until they got ban to perform their music in any Prague's club. Anyways they pushed for public performances and they kept up in free creation. An important outcome is fact that...