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Journal articles on the topic 'Underground music'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

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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2

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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5

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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6

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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7

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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11

Oware, Matthew. "(Un)conscious (popular) underground: Restricted cultural production and underground rap music." Poetics 42 (February 2014): 60–81. http://dx.doi.org/10.1016/j.poetic.2013.12.001.

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Machovec, Martin. "Czech Underground Musicians in Search of Art Innovation." East Central Europe 38, no. 2-3 (2011): 221–37. http://dx.doi.org/10.1163/174552411x600103.

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AbstractThe Czech underground culture of the 1970s and 1980s has so far been widely acknowledged for its contribution to the development of the human rights movement in the country, especially as a predecessor and fellow-traveller of Charta 77. So have been some of the underground rock musicians (The Plastic People of the Universe) and some of the poets and writers (e.g. Egon Bondy, I. M. Jirous, Pavel Zajíček, Jáchym Topol). However, as a result of vivid cooperation within the underground “ghetto” between poets, writers, philosophers, musicians and representatives of fine arts, the underground rockers created performances to be appreciated in terms of visual arts, literature and contemporary music—which has so far remained rather underresearched. The article brings forth some evidences of this creativity by locating the phenomenon of Czech underground music in the broader cultural and aesthetic context of the time.

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Alonso Alconada, Soraya. "Reformulating the Riot Grrrl Movement: Space and Sisterhood in Kathleen Hanna’s Lyrics." Clepsydra. Revista de Estudios de Género y Teoría Feminista, no. 20 (2021): 99–119. http://dx.doi.org/10.25145/j.clepsydra.2021.20.05.

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Music has become a crucial domain to discuss issues such as gender, identities and equality. With this study I aim at carrying out a feminist critical discourse analysis of the lyrics by American singer and songwriter Kathleen Hanna (1968-), a pioneer within the underground punk culture and head figure of the Riot Grrrl movement. Covering relevant issues related to women’s conditions, Hanna’s lyrics put gender issues at the forefront and become a significant means to claim feminism in the underground. In this study I pay attention to the instances in which Hanna’s lyrics in Bikini Kill and Le Tigre exhibit a reading of sisterhood and space and by doing so, I will discuss women’s invisibility in underground music and broaden the social and cultural understanding of this music

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Wallach, Jeremy. "Underground Rock Music: And Democratization in Indonesia." World Literature Today 79, no. 3/4 (2005): 16. http://dx.doi.org/10.2307/40158922.

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Kurniawan, Ivan, and Dinar Lestari. "Advertising an Sub Culture Food: Arm Burger as ‘Underground Meal’." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 6 (March 31, 2023): 268–80. http://dx.doi.org/10.34010/icobest.v4i.376.

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Food sources in food products greatly help the economy in Indonesia, especially in the city of Bandung, thus making culinary products increasingly mushrooming in the community. One of the entrepreneurs in the city of Bandung in food products is Army Zein as the owner of Arm Burger in Bandung since 2017. Arm Burger products have a different concept from other products, because they have an underground music theme. In the process of preparing this design focuses on visual photography on Arm Burger products to avoid a broader discussion. The purpose of this design is to provide a burger image with a strong underground music theme to potential consumers, through visual advertising on social media, to be more interested and make potential consumers want to buy Arm Burger products. The data collection process used in this design uses qualitative methods based on facts that will be developed again. The results obtained in this design are that there are still many people who do not know and think that Arm Burger product photography does not illustrate the theme of underground music. Through the visual design of Arm Burger product photography advertisements, it is hoped that the visual image of underground music can be conveyed better.

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Welizarowicz, Grzegorz. "Weirdness at Midnight." Polish Journal for American Studies, no. 14 (Spring 2020) (December 1, 2020): 109–22. http://dx.doi.org/10.7311/pjas.14/1/2020.08.

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Rizkidarajat, Wiman, Arizal Mutahir, Isna Hanny, and Ismael Caceres Correa. "Urban space spatiality in Purwokerto, Jawa Tengah: Case from Gedung Soetedja." SOSIOHUMANIORA: Jurnal Ilmiah Ilmu Sosial Dan Humaniora 10, no. 1 (January 31, 2024): 118–37. http://dx.doi.org/10.30738/sosio.v10i1.16641.

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This article attempts to trace the spatiality of urban space in Purwokerto using Lefebvian theory. The main urban space in this article is Gedung Soetedja which was previously located on Jalan Gatot Soebroto, Purwokerto Barat. As long as it was an urban space, the central discourse of Gedung Soetedja was underground music which was born from the movements of urban youth in Indonesia in the early 2000s. The method used in this article is descriptive qualitative. The data was obtained through interviews with 2 actors and organizers of underground gigs in early 2000s, 2 actors of a youth collective called Heartcorner Collective, 2 cafe owners who were often used to Heartcorner Collective organize gigs (micro scale underground music concert), and 1 journalist. This data was obtained from May-August 2023. The findings of this article are the efforts of a collective, the Heartcorner Collective, to create urban spatiality through re-reading underground music discourse, placemaking, and spatiality of urban spaces. Furthermore, this article also presents things that caused Gedung Soetedja to lose its inclusiveness when Pemerintah Daerah Kabupaten Banyumas moved it to its new location.

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SOLOMON, THOMAS. "‘Living underground is tough’: authenticity and locality in the hip-hop community in Istanbul, Turkey." Popular Music 24, no. 1 (January 2005): 1–20. http://dx.doi.org/10.1017/s0261143004000273.

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Hip-hoppers in Istanbul, Turkey, spend much discursive energy talking and rapping about how the Turkish hip-hop movement is underground, putting a particularly local spin on their uses of a global cultural form. This spatial metaphor has thus become central to local constructions of hip-hop in Istanbul. This paper explores the different meanings the underground concept has for Turkish hip-hoppers through a combination of ethnographic research and readings of locally produced hip-hop texts. Through discourses on and around the underground metaphor, Turkish hip-hoppers use the globally circulating music genre of rap and the associated arts of hip-hop to construct a specifically local identity, re-emplacing rap and hip-hop within the landscape of Istanbul. The paper uses this case study to explore how people can use mediated music in constructing new imaginaries and identities and more specifically how people can use mediated music as a vehicle for the imagining of place.

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Opekar, Aleš. "Czech Underground from a Musical Historical Point of View." CENTRAL EUROPEAN JOURNAL FOR CONTEMPORARY RELIGION 4, no. 2 (November 28, 2022): 5–34. http://dx.doi.org/10.14712/25704893.2022.2.

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The first part of the article summarises and comments on the literature on the Czech music underground. It proves that professional research of the phenomenon was previously carried out by foreign authors, whose focus was mainly on the social and political contexts in Eastern Europe. Memoirs and published interviews predominated in the domestic reflection of the phenomenon. Theoretical studies, including monographic treatises, appear only on an ongoing basis. However, the underground is still more in the field of view of historians than musicologists. This article also traces the changes in understanding the “underground” category in the Czech environment. It leads to defining it compared to the “alternative scene” and “grey zone” categories, which gradually gained a specific significance in Czech public awareness in the 1970s and 1980s. The second part of the article places the Czech musical underground in the context of the general development of rock and popular music in Czechoslovakia in the 1970s and 1980s.

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Ramet, Sabrina P., and Thomas Cushman. "Notes from Underground: Rock Music Counterculture in Russia." Russian Review 55, no. 4 (October 1996): 727. http://dx.doi.org/10.2307/131901.

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Beekhuyzen, Jenine, Liisa von Hellens, and Sue Nielsen. "Underground online music communities: exploring rules for membership." Online Information Review 35, no. 5 (September 27, 2011): 699–715. http://dx.doi.org/10.1108/14684521111176453.

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Street, John, and Thomas Cushman. "Notes from Underground: Rock Music Counterculture in Russia." Contemporary Sociology 25, no. 5 (September 1996): 685. http://dx.doi.org/10.2307/2077597.

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Schärer, Thomas, and Fred Truniger. "« Underground Explosion » : le music-hall de l’avant-garde." Décadrages, no. 21-22 (December 15, 2012): 132–45. http://dx.doi.org/10.4000/decadrages.683.

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DiBlasi, Alex, and Steven Hamelman. "Special Issue ofRock Music Studies: The Velvet Underground." Popular Music and Society 37, no. 5 (September 30, 2014): 703–4. http://dx.doi.org/10.1080/03007766.2014.946327.

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DiBlasi, Alex, and Steven Hamelman. "Special Issue ofRock Music Studies: The Velvet Underground." Rock Music Studies 1, no. 3 (July 28, 2014): 314–15. http://dx.doi.org/10.1080/19401159.2014.946332.

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Dunn, Lawrence. "London Contemporary Music Festival." Tempo 72, no. 285 (June 19, 2018): 86–91. http://dx.doi.org/10.1017/s0040298218000177.

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Does intimacy have anything to do with music? Music – especially acoustic chamber music – is regularly, even unthinkingly, labelled intimate. The implications of this common-enough usage were the major preoccupation of the most recent London Contemporary Music Festival. With multiple images and varieties of intimacy foregrounded – bodily, sexual, aural, psychological, somnolent – Igor Toronyi Lalic's curation was masterful. By turns provocative, baffling, emotional and ear-averting, not without some irony, the concerts were held in a vast underground concrete room.

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Finzi, Gerald. "From the Archive: Notes from the Underground." Musical Times 138, no. 1858 (December 1997): 26. http://dx.doi.org/10.2307/1004055.

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Wang, Su, Huaidong He, Fulong Li, and Qingqing Xiao. "A Study on the Soundscape of Underground Commercial Space in Lu’an City and Hefei City, China." International Journal of Environmental Research and Public Health 20, no. 3 (January 20, 2023): 1971. http://dx.doi.org/10.3390/ijerph20031971.

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Soundscape is an important part and one of the main factors of the underground space environment. Field surveys were conducted to evaluate the soundscape of underground commercial spaces and to compare it with the soundscape of the above-ground commercial spaces between two cities (Lu’an City and Hefei City) in China, consequently presenting the construction strategy of the soundscape of underground commercial spaces in urban areas. The results showed that the sound in the shopping center, which people found comfortable, was at the lower to intermediate level. The main sounds that people perceived as “general” sounds were environmental sounds such as music, the humming of the air conditioning, people talking, walking, and the hawking of the stores. Nevertheless, “very comfortable” sounds were background music and the sound of live performances, which were indicated in the majority of people’s opinions on evaluating a comfortable feeling, thus reflecting the impact of the sound of mall music on people′s cognitive psychology. Therefore, it is necessary to control the volume of environmental noise at a certain level so that people’s health is not adversely affected. It also helps shoppers to feel more comfortable psychologically and physiologically.

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Sonnichsen, Tyler. "Vinyl tourism: records as souvenirs of underground musical landscapes." Arts and the Market 7, no. 2 (October 2, 2017): 235–48. http://dx.doi.org/10.1108/aam-04-2016-0005.

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Purpose This paper discusses how vinyl records become souvenirs of musical tourism. The record-as-souvenir dynamic is particularly relevant in the discussion about punk culture in cities like Washington, DC, and other scenes which defy encapsulation as touristic landscapes. Arguing a fluid perspective on musical tourism, the purpose of this paper is to present the argument that vinyl functions as de facto souvenirs of underground musical landscapes. Design/methodology/approach This paper incorporates literature on souvenirs within tourism studies, market research, and empirical data. It also builds upon research on emotional geographies and the resurgence of the vinyl record industry. Findings In many cases, musical recordings (particularly those on vinyl, for tactile and fetishist reasons), while not designed for the function of being souvenirs, come to signify counter-narrative definitions of place. Research limitations/implications This work focuses on the context of vinyl as souvenirs with findings derived from the intersection of tourism, critical geography, and music marketing. In offering this contextual account, there is no claim toward generalization but rather the work is put forward as a depth of insight on a phenomenon long in the making yet neglected by researchers. However, a more comprehensive approach to provide further insight on vinyl as souvenirs might include consumer interviews. Practical implications This paper expands the conversation about souvenirs further into the era of modern, underground tourism. It argues for the inclusion of music consumption, especially vinyl, as prototypical and unintentional souvenirs as decided by the consumer rather than the producer. It also expands the discourse on counter-narratives of places like Washington, DC, in conversations about place-based music marketing and tourism. Social implications This paper frames musical souvenirs in terms of the consumer deciding their value and role in the cultivation of sense of place, rather than the producer. Additionally, music retailers provide a valuable role in their city’s cultivated image, but even this is a collaboration between the retailers and consumers. Originality/value This paper addresses the function of vinyl records within the purview of tourism studies and positions as an original contribution connecting music consumption and tourism practices.

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Schmisek, John. "This must be the place: Venues and urban space in underground music scenes." Journal of Urban Cultural Studies 7, no. 1 (March 1, 2020): 41–57. http://dx.doi.org/10.1386/jucs_00017_1.

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Art subcultures, and music scenes in particular, have featured prominently in academic discourse on gentrification in the neo-liberal city. Although scholarly accounts have done much to clarify the process through which music scenes become implicated and entangled within wider patterns of urban transformation and redevelopment, these studies often leave us with a flattened and undertheorized picture of the scenes themselves. Departing from David Ley’s conception of the ‘cultural field of gentrification’, I sketch out an analytical framework for understanding the heterogenous and contested character of music scenes in the face of urban change, focusing on a case study of the underground music scene in Rome’s Pigneto neighbourhood in 2017. As variegated waves of scene participants drift into new spaces, scenes coalesce into distinct territories, administered by venues and delineated by ‘scene ideologies’ ‐ matrices of ethical and aesthetic values and judgements constituting a collective scene habitus. This complicates any facile conception of artistic communities as either unwitting agents of gentrification or isolated underground enclaves; rather, premised on collective rituals of aesthetic judgement and differentiation, music scenes constitute a continuum of cultural production whose spatial practices both generate and subvert conditions for their eventual appropriation by market forces.

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Jonāne, Jūlija. "Sacred Music – a Forbidden Fruit: Musical and Non-musical Ways of Survival." Musicological Annual 50, no. 2 (April 3, 2015): 127–35. http://dx.doi.org/10.4312/mz.50.2.127-135.

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Prohibition of sacred music during the period of Soviet Latvia was exerted like a syndrome of forbidden fruit, that was breached in the underground way and developed in secret and complicated forms, in which the central is secular music genres’ and radical musical language’s using. A re-reading of texts will lead to a more nuanced understanding of the development of sacred music in Latvia and other countries.

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Otte, Andreas. "Nuuk underground: musical change and cosmopolitan nationalism in Greenland." Popular Music 34, no. 1 (December 19, 2014): 113–33. http://dx.doi.org/10.1017/s0261143014000713.

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AbstractIn Nuuk, the capital of Greenland, there have been a significant number of musical events in recent years that have been called ‘underground’. These have formed an underground scene that offered a cosmopolitan alternative to established ‘greenlandificated’ popular music. This paper accounts for the building of this underground scene by Nuuk youth, and asks why these young people valued musical change informed by a cosmopolitan outlook, while at the same time holding firmly to the conviction that their activities were a part of the dominant Greenlandic nation-building project. Social agents, which played key roles in building the Nuuk underground scene, described their activities as attempts to come to terms with a history in which Greenland has been perceived as a subaltern nation. This enquiry explains the nationalist logic behind a concern with performing similarity with Western nations in the Nuuk underground scene, as opposed to the more widespread romantic nationalist logic concerned with expressing a distinguishable national character. This further leads to an expansion of a position of cosmopolitan nationalism.

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Luke, Timothy W. "Notes from Underground: Rock Music Counterculture in Russia.Thomas Cushman." American Journal of Sociology 101, no. 6 (May 1996): 1741–42. http://dx.doi.org/10.1086/230883.

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Overell, Rosemary Therese. "Making Music in Japan's Underground: The Tokyo Hardcore Scene." Japanese Studies 32, no. 2 (September 2012): 309–11. http://dx.doi.org/10.1080/10371397.2012.695177.

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Nooshin, Laudan. "Underground, overground: Rock music and youth discourses in Iran." Iranian Studies 38, no. 3 (September 2005): 463–94. http://dx.doi.org/10.1080/00210860500300820.

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Brunt, Shelley D. "Making Music in Japan's Underground: The Tokyo Hardcore Scene." Ethnomusicology Forum 21, no. 3 (December 2012): 424–26. http://dx.doi.org/10.1080/17411912.2012.717477.

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Ahlkvist, Jarl A., and Thomas Cushman. "Notes from the Underground: Rock Music Counterculture in Russia." Social Forces 77, no. 3 (March 1999): 1241. http://dx.doi.org/10.2307/3006003.

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Kudryavtsev, V. A. "Muon simulation codes MUSIC and MUSUN for underground physics." Computer Physics Communications 180, no. 3 (March 2009): 339–46. http://dx.doi.org/10.1016/j.cpc.2008.10.013.

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Ploebst, Helmut. "multimix." tanz 14, no. 4 (2023): 61–63. http://dx.doi.org/10.5771/1869-7720-2023-4-061.

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Hanson, Kelly. "The Plastic People of the Universe and Utopian Performance in Tom Stoppard's Rock ‘n’ Roll." Theatre Survey 57, no. 3 (August 10, 2016): 358–79. http://dx.doi.org/10.1017/s0040557416000326.

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Tom Stoppard's 2006 play Rock ‘n’ Roll revolves around the story of the Plastic People of the Universe (1968–88), an underground Czech rock band best known in the United States for their connections to Václav Havel and possibly for their ties to the Velvet Revolution of 1989 and the fall of communism in the Eastern bloc. Often tangentially referred to in progressive Western journalism, the Plastic People have come to signify a kind of subcultural capital for mainstream bourgeois writers, a way for moderate Western liberals to appear edgy and cultured. Stoppard's play draws on this popular consumption of the Plastic People, fetishizing them both for their grungy, underground lifestyle and for their status as underground rock legends. After all, the play seems to ask, how many rock bands can claim to have started an actual revolution? The play's twin narratives dramatize the clash between rock music and philosophical Marxism in Cambridge and Prague from 1968 to 1990. The stories are linked through the protagonist, Jan, a Czech intellectual who abandons his studies at Cambridge to return to Czechoslovakia in the wake of the Soviet invasion of 1968. He is determined to “save” rock music, socialism, and his mother. Jan soon discovers the Plastic People of the Universe, whose music he holds up as a positive ray of light in the dreary decades preceding the Velvet Revolution. Placing the Plastics’ music and story alongside the work of male rock megastars such as the Rolling Stones, Pink Floyd, the Beach Boys, and Bob Dylan, Stoppard celebrates the Plastic People as a band that preserves the revolutionary roots of rock music.

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Gruet-Pelchat, Ariane. "REVIEW | Sounds of the Underground: A Cultural, Political, and Aesthetic Mapping of Underground and Fringe Music." IASPM@Journal 6, no. 2 (December 31, 2016): 192–95. http://dx.doi.org/10.5429/2079-3871(2016)v6i2.15en.

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Smith, Neil Thomas. "Huddersfield Contemporary Music Festival 2020." Tempo 75, no. 296 (March 10, 2021): 87–88. http://dx.doi.org/10.1017/s0040298220001175.

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‘There has always been a state of crisis’, we are told in Ziad Nawfal's wonderful introduction to the underground music scene in Beirut. That the corona restrictions comprise a rather different crisis to that of Lebanon's capital should be stressed, yet it will have been no easy task creating any kind of Huddersfield festival this year. That any event could occur at all is an achievement on the part of the festival team and the ensembles, musicians, broadcasters and composers with whom they work. Adaptation and renewal are a vital part of a new musicians’ toolkit, even if the pace of change can be bewildering.

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Lawrence, Tim, and Kai Fikentscher. ""You Better Work!" Underground Dance Music in New York City." Dance Research Journal 33, no. 2 (2001): 138. http://dx.doi.org/10.2307/1477814.

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Formilan, Giovanni, and David Stark. "Underground testing: Name‐altering practices as probes in electronic music." British Journal of Sociology 71, no. 3 (April 21, 2020): 572–89. http://dx.doi.org/10.1111/1468-4446.12726.

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Orlova, Irina. "Notes from the Underground: The Emergence of Rock Music Culture." Journal of Communication 41, no. 2 (June 1, 1991): 66–71. http://dx.doi.org/10.1111/j.1460-2466.1991.tb02309.x.

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Wash, P., and S. Dance. "MP3 listening levels on London underground for music and speech." Applied Acoustics 74, no. 6 (June 2013): 850–55. http://dx.doi.org/10.1016/j.apacoust.2012.12.008.

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Fax, David Anthony. "Notes from the Underground: Leyla Gencer in Two Verdi Roles." Opera Quarterly 4, no. 2 (1986): 138–42. http://dx.doi.org/10.1093/oq/4.2.138.

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Barrantes, Mariela Agüero. "The underground: Alternative scenes and clothing styles in Costa Rica during the 1990s." Fashion, Style & Popular Culture 11, no. 2 (July 1, 2024): 341–53. http://dx.doi.org/10.1386/fspc_00252_1.

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During the 1990s, Costa Rica experienced a growth in young bands performing emergent music genres. From a post-subcultural approach, this article argues that a varied array of young bands from different musical genres and scenes created a sense of unity and support that led to the creation of what was known as ‘the underground scene’ during the 1990s. The ‘underground scene’ served as a platform that opened up a series of spaces that were alternative to the mainstream, where youth groups were able to perform their music and create new styles. In these new spaces, members of the underground developed new clothing styles linked to their musical tastes. By interviewing members of different alternative rock and reggae bands, information was gathered and analysed to visualize the development of these scenes. Members of the scene established their clothing styles based on their icons and could be identified within a specific genre due to their dress. Aesthetics were a mix of influences and bands that came directly from western countries. Americanas (thrift stores) was youth’s primary outlet for clothing hunting and they adopted current styles directly from the United States.

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Baker, Geoff. "Mala Bizta Sochal Klu: underground, alternative and commercial in Havana hip hop." Popular Music 31, no. 1 (January 2012): 1–24. http://dx.doi.org/10.1017/s0261143011000432.

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AbstractThe terms underground, alternative and commercial are widely used in discussions of popular music scenes in Havana and around the world. In Cuba, the words alternative and underground are often used interchangeably, in critical as well as popular discourse. I propose a working definition of, and a distinction between, these terms in Havana, since to render them synonymous reduces their usefulness. The distinction between underground and commercial, in contrast, is widely seen as self-evident, by critics as well as by fans. However, a simplistic dichotomy glosses over the interpenetration of these terms, which are of limited use as analytical categories. This discussion of terminology is grounded in an analysis of the politics of style in Havana hip hop.

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Brown, Andy R. "Heavy metal justice?: Calibrating the economic and aesthetic accreditation of the heavy metal genre in the pages of Rolling Stone, 1980‐91: Part two 1986‐911." Metal Music Studies 7, no. 2 (June 1, 2021): 257–76. http://dx.doi.org/10.1386/mms_00048_1.

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Drawing on a comprehensive sample, composed of album reviews, lead or feature articles and interviews, drawn from the RS archive, my research, in Part Two of this article, shows how heavy metal in the period 1986‐91 acquires a notable level of critical or aesthetic legitimation, which it was largely denied in the preceding period, 1980‐85. However, this aesthetic as opposed to economic accreditation is conferred on particular bands and album releases rather than the genre as a whole, particularly those emerging from the thrash underground, such as Metallica and Megadeth, with the former receiving their first lead feature in Rolling Stone in January 1989, entitled ‘Heavy metal justice’. It is therefore somewhat ironic that this aesthetic approbation reaches a symbolic plateau with Robert Palmer’s **** review of Metallica’s ‘black album’, an album that in retrospect can be seen to announce a ‘crossover’ strategy that allowed the band to find a wider audience beyond the thrash underground.

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