Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry.

Dès 1870, dans un contexte politique et social français marqué par un patriotisme, voire un nationalisme antigermanique et revanchard, l’État ressent le besoin de redéfinir la nation et de diffuser jusque dans les arts un nouvel esprit français marqué par les valeurs issues de la Révolution. La chute de l’Empire et l’arrivée des républicains sur la scène politique marquent un tournant idéologique durant lequel un projet de rénovation des arts se dessine. Il a pour objectif de contribuer à la régénération de la société et à la naissance de citoyens nouveaux. En étudiant à la fois le projet théorique initial, ses répercussions sur les arts et plus spécifiquement sa réalisation en musique, nous souhaitons démontrer dans cette thèse une certaine perméabilité entre « les champs politique et administratif » et « le champ artistique ». Une première partie, consacrée à l’étude du contexte officiel du tournant du siècle ainsi qu’à celui de la presse artistique, examine le projet de rénovation des arts tel qu’il a été pensé par l’État. L'une de ses principales caractéristiques réside dans sa dimension sociale et politique. Il est envisagé comme un moyen d’action humaniste ayant pour objectif d'éduquer les hommes et les femmes dans leur quotidien. L'art doit devenir source de lien social, de fraternité et de communion, afin de ranimer les valeurs républicaines. Dans une seconde partie, nous étudions le rôle singulier de la musique au sein de ce projet. Un mouvement de propagande musicale est initié et un service public de la musique est mis en place : il s’agit de démocratiser la musique, en rendant son enseignement accessible à tous, et en l'intégrant au quotidien à travers des événements fédérateurs à la dimension patriotique forte. C’est grâce à l’école, rendue obligatoire, que le projet va largement se réaliser. L’analyse d'exemples significatifs de chants scolaires nous permettra de vérifier comment les valeurs défendues par le projet républicain se diffusent jusque dans le langage musical. / Since 1870, in a political and social context marked by patriotism, or even anti-Germanic nationalism, the French State felt the need to redefine the Nation and disseminate into the arts a new “esprit français” marked by the values inherited from the Revolution. The fall of the Empire and the advent of the Republicans on the political scene initiated an ideological turning point during which a project of arts renovation emerged. Its aim was to contribute to the regeneration of society and to the birth of a new citizen. By studying both the initial theoretical project, its impact on the arts and more specifically its implementation in music, this dissertation will demonstrate a certain permeability between political and administrative fields and the arts.The first part, devoted to the study of the official context of the turn of the century as well as that of the art press, will examine the project of arts renovation designed by the state. One of its main features lying in its social and political dimension, it was envisaged as a humanist mean of action to educate men and women in their daily lives. The arts would become source of social connection, fraternity and communion, whose main objective was to revive the Republican values.During the second part, we shall study the singular role of music within the project. A musical propaganda movement was indeed initiated and a “service public” of music established in order to democratize music, make its education accessible to all, and integrate it in strong unifying patriotic events. Through the institution of compulsory school throughout France, the project will also largely be realized. The analysis of significant examples of school songs will thus demonstrate how the values upheld by the Republican project also diffused into the musical language.

The diploma thesis analyses the beginnings of hip hop in the Czech Republic in the context of domestic music magazines. It aims to examine the media depiction of this cultural phenomenon in its entirety with an emphasis on the musical genre of rap. Through qualitative content analysis of text data, it observes specific periodicals in two time periods. The first of them was in the years 1989 to 1999, when the first attempts to transfer the originally American genre to the domestic environment began to appear in the country. The second analysed stage is limited to the years 2000 and 2002, in which two key albums were released, namely Repertoár by the group PSH and My 3 by Indy & Wich. The magazines Melodie, Rock & Pop, Report, Tripmag, Ultramix and Bbarák were used in the qualitative content analysis. The thesis examines the first printed mentions of Czech hip hop, but also focuses on reviews, interviews and other extensive journalistic genres, especially at a later stage. Qualitative content analysis of textual data is complemented by semi-structured interviews with leading music publicists, but also artists who have contributed to the establishment of rap in terms of Czech music. The research method of oral history was also used and made it possible to obtain information with witnesses that have...