Thesis (M.S.)--University of North Texas, Aug., 2007. / Title from title page display. Includes bibliographical references.

Thesis (M.M.)--The University of North Carolina at Greensboro, 2008. / Directed by Guy Capuzzo; submitted to the School of Music. Title from PDF t.p. (viewed Sep. 2, 2009). Includes bibliographical references (p. 98-102).

The rebellious spirit generated by the 1970s punk movement in the UK and the US influenced many local Hong Kong indie bands. However, in the early part of the 21st century, local indie music has created different kinds of relationship with the mainstream and commercial fields, which seem to have the potential to destroy the original meaning of indie music. The aims of this research were therefore to re-examine the independence of indie music in the early 21st century; to understand the role played by indie music and artists within the local music scene; to describe the “authenticity” of indie music, and to suggest how to bring about a better and more sustainable development for these kinds of “independent” and grassroots organizations. In response to these research aims, a case study was conducted of four local indie labels: 89268, Redline Music, Harbour Records and Music is Free Foundation (M.I.F.F.), by applying a marketing mix of the 4 “P”s—promotion, place, price and product—in order to investigate the business practices of these indie labels and to present a more comprehensive picture of Hong Kong indie music. Although indie music has become no longer purely “indie/independent”, it is also believed that the core values of indie music are being repackaged. Moreover, an interdependent relationship between indie music and commerce and/or the mainstream has been created. This interdependence is not necessarily leading to the end of indie, but has the potential to create more opportunities and spaces for the development of indie music.

Thesis (Ph. D.)--York University, 2000. Graduate Programme in Sociology. / Typescript. Includes bibliographical references (leaves 379-409). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ67936.

Thesis.

Alternative music was a cultural practice, which became a significant feature of New Zealand's local and national history over the last two decades of the twentieth century. Features of technology, economics and music culture influenced the creation and course of local independent music scenes, along with factors such as cultural remoteness. This thesis isolates and collates key factors and time periods of international music industry history, and refracts the information through alternative music in general, providing a coherent definition of the term. The history and definitions of New Zealand's alternative music history are then assessed for the period 1981-2001, with especial reference to the Flying Nun label and 'Dunedin Sound'.

Thesis (M.F.A.)--West Virginia University, 2005. / Title from document title page. Document formatted into pages; contains v, 109 p. Includes abstract.

Thesis (M.A.)--Memorial University of Newfoundland, 2002. / Bibliography: leaves 149-150.

Thesis (M.M.) Florida State University, 2006. / Advisor: Charles E. Brewer, Florida State University, College of Music. Title and description from dissertation home page (viewed 2006). Document formatted into pages; contains 69 pages. Includes biographical sketch. Includes bibliographical references.

Fung Chui Bik. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 1-7 (3rd gp.)). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter Chapter One: --- Literature Review --- p.5 / Chapter Chapter Two: --- Methodology --- p.23 / Chapter Chapter Three: --- Historical Background / Chapter 3.1 --- The emerging of Indie music in Hong Kong --- p.26 / Chapter 3.2 --- New wave of DIY --- p.31 / Chapter Chapter Four: --- The Mediations & Active Prosumers --- p.38 / Chapter 4.1 --- The Mediations of Producers-consumers --- p.40 / Chapter 4.2 --- The Mediations of Professional-consumers --- p.52 / Chapter 4.3 --- The Mediations of Media workers --- p.62 / Chapter Chapter Five: --- Different Modes of Indie Prosuming --- p.70 / Chapter 5.1 --- Disciple --- p.73 / Chapter 5.2 --- Practitioner --- p.77 / Chapter 5.3 --- Critical Prosumer --- p.83 / Chapter Chapter Six: --- Conclusion一 A New Indie Culture --- p.86 / References and Bibliography / "Appendix I，II，III, IV"