Ce mémoire de maîtrise s’intéresse à la scène musicale islandaise à travers le documentaire. La notion de scène désigne généralement un contexte spatial au sein duquel différents acteurs (musiciens, producteurs, promoteurs, amateurs de musique, etc.) partagent des intérêts à l’égard de la musique. Dans ce mémoire, elle est conceptualisée en combinant d’une part l’approche de Straw (1991) qui met l’accent sur l’aspect interactionnel et réticulaire de la scène et souligne le potentiel d’adaptation au changement de cet espace de sociabilité ; et d’autre part, celle de Bennett et Peterson (2004) qui insistent sur les différences d’échelles auxquelles se déploient les réseaux d’interactions que constituent les scènes locales, trans-locales et virtuelles. L’auteure y intègre aussi une réflexion géographique destinée à problématiser le caractère insulaire de l’Islande en tant qu’élément productif de la scène musicale qui s’y déploie. Pour ce faire, elle a recours aux propositions théoriques de Massey (2005) concernant l’espace comme construit à travers un ensemble hétérogène de trajectoires, des « stories-so-far » dont la co-présence et la simultanéité conférerait au lieu que serait, en l’occurrence, la scène islandaise, sa spécificité. Ce questionnement fait l’objet d’une exploration empirique à travers une série de documentaires s’intéressant, selon des modes différents (Nichols, 2001 ; 2010), à différents visages de la musique locale en Islande. Les représentations visuelles et auditives de l’Islande et de la musique islandaise que produisent ces documentaires constituent le discours qui fait l’objet de l’analyse. Inspirée de la perspective de Hall (1994 ; 1997), le discours est abordé en tant qu’unité significative socio-historiquement ancrée et composée d’énoncés. La démarche méthodologique adoptée consiste à examiner un corpus de documentaires pour en dégager les énoncés et, sur cette base, reconstituer les différentes trajectoires constitutives de la scène musicale islandaise ainsi mise en discours. L’analyse met en évidence cinq trajectoires (Monde ; Affinités ; Filiation ; Stéréotypie et authenticité ; Territorialité) ainsi que les différentes modalités de leur co-occurrence, points de rencontre ou de distanciation, à différentes échelles. Ce sont ces points de (non) rencontre qui constituent le lieu de la scène islandaise. / This Masters thesis examines the icelandic music scene as portrayed through documentaries. The notion of scene usually refers to a spatial entity in which different actors (musicians, producers, promoters, fans, etc) share their common interests in music. In this thesis, its conceptualization combines elements drawn from an approach developed by Straw (1991) wich focuses on ideas of interaction and network, and insists on how this space of sociability is formed through adaptation and change ; and from Bennett and Peterson’s (2004) approach which emphasize the difference in scales through which the networks of interactions characteristic of local, trans-local and virtual scenes are deployed. The author also addresses geographical questions as a means to further problematize the insular character of Island construed as one of the elements through which the music scene is produced. She does so by mobilizing Massey’s (2005) theory of space as a coming together of heterogeneous trajectories and "stories-so-far", and argues that it is the copresence and simultaneity of these trajectories that give the icelandic music scene its specificity. This line of investigation is pursued through the empirical exploration of a series of documentaries which address through different modes (Nichols, 2001 ; 2010) various facets of what they construe as local music in Iceland. The visual and aural representations that these documentaries put forth form the discourse that is the object of the analysis. Inspired by Hall (1994 ; 1997) discourse is considered as a meaningful and sociohistorically contingent unit composed of statements. The methodological process that guides the analysis consists in the critical examination of a corpus of documentaries with a view to identifying the statements that they articulate, and, on this basis, to reconstituting the different trajectories that constitute the icelandic music scene discursively produced therein. The analysis brings forth five trajectories (World ; Affinities ; Filiation ; Stereotyping et authenticity ; Territoriality) and discusses their various co-occurrences at different scales. It is these (non-) meeting points which are conceptualized as constituting the place of the icelandic music scene.

Ce mémoire de maîtrise s’intéresse à la scène musicale islandaise à travers le documentaire. La notion de scène désigne généralement un contexte spatial au sein duquel différents acteurs (musiciens, producteurs, promoteurs, amateurs de musique, etc.) partagent des intérêts à l’égard de la musique. Dans ce mémoire, elle est conceptualisée en combinant d’une part l’approche de Straw (1991) qui met l’accent sur l’aspect interactionnel et réticulaire de la scène et souligne le potentiel d’adaptation au changement de cet espace de sociabilité ; et d’autre part, celle de Bennett et Peterson (2004) qui insistent sur les différences d’échelles auxquelles se déploient les réseaux d’interactions que constituent les scènes locales, trans-locales et virtuelles. L’auteure y intègre aussi une réflexion géographique destinée à problématiser le caractère insulaire de l’Islande en tant qu’élément productif de la scène musicale qui s’y déploie. Pour ce faire, elle a recours aux propositions théoriques de Massey (2005) concernant l’espace comme construit à travers un ensemble hétérogène de trajectoires, des « stories-so-far » dont la co-présence et la simultanéité conférerait au lieu que serait, en l’occurrence, la scène islandaise, sa spécificité. Ce questionnement fait l’objet d’une exploration empirique à travers une série de documentaires s’intéressant, selon des modes différents (Nichols, 2001 ; 2010), à différents visages de la musique locale en Islande. Les représentations visuelles et auditives de l’Islande et de la musique islandaise que produisent ces documentaires constituent le discours qui fait l’objet de l’analyse. Inspirée de la perspective de Hall (1994 ; 1997), le discours est abordé en tant qu’unité significative socio-historiquement ancrée et composée d’énoncés. La démarche méthodologique adoptée consiste à examiner un corpus de documentaires pour en dégager les énoncés et, sur cette base, reconstituer les différentes trajectoires constitutives de la scène musicale islandaise ainsi mise en discours. L’analyse met en évidence cinq trajectoires (Monde ; Affinités ; Filiation ; Stéréotypie et authenticité ; Territorialité) ainsi que les différentes modalités de leur co-occurrence, points de rencontre ou de distanciation, à différentes échelles. Ce sont ces points de (non) rencontre qui constituent le lieu de la scène islandaise. / This Masters thesis examines the icelandic music scene as portrayed through documentaries. The notion of scene usually refers to a spatial entity in which different actors (musicians, producers, promoters, fans, etc) share their common interests in music. In this thesis, its conceptualization combines elements drawn from an approach developed by Straw (1991) wich focuses on ideas of interaction and network, and insists on how this space of sociability is formed through adaptation and change ; and from Bennett and Peterson’s (2004) approach which emphasize the difference in scales through which the networks of interactions characteristic of local, trans-local and virtual scenes are deployed. The author also addresses geographical questions as a means to further problematize the insular character of Island construed as one of the elements through which the music scene is produced. She does so by mobilizing Massey’s (2005) theory of space as a coming together of heterogeneous trajectories and "stories-so-far", and argues that it is the copresence and simultaneity of these trajectories that give the icelandic music scene its specificity. This line of investigation is pursued through the empirical exploration of a series of documentaries which address through different modes (Nichols, 2001 ; 2010) various facets of what they construe as local music in Iceland. The visual and aural representations that these documentaries put forth form the discourse that is the object of the analysis. Inspired by Hall (1994 ; 1997) discourse is considered as a meaningful and sociohistorically contingent unit composed of statements. The methodological process that guides the analysis consists in the critical examination of a corpus of documentaries with a view to identifying the statements that they articulate, and, on this basis, to reconstituting the different trajectories that constitute the icelandic music scene discursively produced therein. The analysis brings forth five trajectories (World ; Affinities ; Filiation ; Stereotyping et authenticity ; Territoriality) and discusses their various co-occurrences at different scales. It is these (non-) meeting points which are conceptualized as constituting the place of the icelandic music scene.

This thesis discusses concepts of cosmopolitism and peripherality in the Greek and wider European goth scene. The research took place primarily in Greece but extended to Germany, the United Kingdom and online as I followed the movement of Athenian goths who were searching for connectivity, hybridity and their cosmopolitan selves. In living a hybrid cosmopolitan identity, goths regularly challenge national stereotypes and transgress international boundaries. But sometimes the complexities of goth cosmopolitan identity may also contain unpalatable aspects, such as hard-core Greek or German nationalism and views that verge on xenophobia or anarchism that are seemingly at odds with the ‘open' and ‘egalitarian' persona put forward by Athenian goths. It is through performance (particularly dance) that Athenian goths choose to express their beliefs and desires, blending aspects of the contemporary goth scene with twists of ‘traditional' Greek ideas. Often performance, with all its paradoxes and hybrid contradictions, says more than words. Movement is at the centre of goth identity; the movement of ideas on social media, the physical movement of goths to overseas festivals and the exchange of opinions among goths at nightclubs in Athens all contribute to a hybrid cosmopolitan identity of a group of people who reside both on the geographical periphery of Europe and on the periphery of their own society. Goth identity is hybrid and complex with layers of peripherality being channelled toward becoming an ever-developing cosmopolitan subject. This thesis focuses on the core aspects of the goth life-project which aim for individuality, connectivity, movement and inclusivity. Being able to creatively display one's hybrid cosmopolitanism is the very essence of what it is to be goth.

Ce mémoire porte sur la notion de résistance sous-culturelle chez la sous-culture straight edge dans le contexte du Québec et s’intéresse à la place et au rôle de la musique hardcore à travers cette résistance. S’inscrivant dans le domaine de la sociomusicologie, il est le résultat d’une étude de terrain menée à l’aide d’entretiens auprès de participants à la sous-culture straight edge québécoise. Il s’intéresse au développement de la culture straight edge dans le contexte du Québec et à son organisation en marge de l’industrie culturelle mainstream en explorant son lien et son positionnement par rapport à la scène hardcore québécoise. Cette enquête se penche sur la perception de l’identité sous-culturelle ainsi que sur la représentation du système de valeurs straight edge chez les participants à la sous-culture. Il explore également, à travers l’analyse du discours des participants, leur conception de la société mainstream, des structures de pouvoir et de l’idéologie dominante afin de comprendre leur conception de la résistance. Le mémoire s’intéresse ensuite aux caractéristiques esthétiques du genre hardcore straight edge à travers ses paramètres musicaux et la production et l’utilisation de la voix dans le genre. Il est finalement démontré que la musique hardcore soutien et appuie la résistance sous-culturelle straight edge à travers diverses stratégies d’interprétation, compositionnelles et scéniques, soutenues par les paramètres vocaux et musicaux du genre, les textes des chansons ainsi que le contexte du concert live. / This thesis examines the notion of resistance in the straight edge subculture in the context of Quebec, focusing on the place and role of hardcore music through this resistance. It is part of a sociomusicology field study consisting in interviews with participants in the Quebec straight edge subculture. It is interested in the development of straight edge culture in the context of Quebec and its organization on the margins of the mainstream cultural industry. It also explores the relationship of this subculture with the Quebec hardcore scene. This thesis examines the perception of subcultural identity and the representation of the straight edge value system amongst subcultural participants. It also explores, through the analysis of the participants' discourses, their conception of mainstream society, power structures and dominant ideologies in order to understand their conceptions of resistance. The thesis then looks at the aesthetic characteristics of the straight edge hardcore genre through its musical parameters and the production and use of the voice in this genre. Finally, it is shown that hardcore music supports and sustains straight edge subcultural resistance through various performances, compositional and scenic strategies, supported by the vocal and musical parameters of the genre, lyrics, as well as the context of the live concert.

Thesis focuses on designing concert hall in the city of Brno in a district called Brno-město. The main space is the concert hall with 540 seats. The aim was to design a representative building which fulfills all requirements for this typographic public building and where the linkage of beauty and functionality is undeniable a part of the proposal.The proposal is trying to connect architecture with music together. This was achieved by designing dynamic façade with segments which are rhythmically in a movement. The character of the concert hall is stressed by artwork by Alexander Caldera at the main entrance. The emphasis has been put on preserving conceptual idea in the final design since the beginning.

For more than fifty years, the Independent (indie) Music Scene has existed as an evolving business model, allowing indie artists to develop a wealth of progressive musical ideas while creating a sustainable audience base. American Musical Theatre has an already-established rich history of adapting styles to fit concurrent trends in popular music while maintaining the story as the core of a show. While some indie artists (The Lisps, The Mountain Goats, Stephin Merritt, and Stew) and some musical theatre composers (David Yazbek, Doug Crossley, and Michael Friedman) have created crossover works, there is currently an overall dearth of musical theatre pieces infused with the indie style and a lack of indie albums with an actable musical theatre storyline. The intent of this thesis is to prove that although American Musical Theatre and the Independent Music Scene are two vastly different art forms, they can be combined to create a viable and unique form that appeals to both audiences. The indie-rock monologue ...and then, Claire was composed, recorded, and performed to test the viability of this thesis. In addition to presenting research on the history of American Musical Theatre and the Independent Music Scene, an analysis of the already-successful artists mentioned above is presented to provide context for ...and then, Claire. This context along with the original indie-rock monologue proves successful combinations of American Musical Theatre and the Independent Music Scene as well as the potential for more attempts in the future.

Pilsen Alternative Music Scene in 1983-1995 Lucie Marková Abstract The aim of this dissertation thesis is to broaden knowledge about the Pilsen alternative music scene in 1983-1995, especially in the framework of three main themes. The basis of the research is content analysis of oral-historical interviews with witnesses who were part of the Pilsen alternative music scene in the selected period. These witnesses were not only active musicians, but also their fans, or organizers of their performances. Their memories were further compared with knowledge gained from the literature, period newspaper, archives materials and ego documents. The first of the main themes focuses on the musical everyday life of musicians, like getting musical equipment, finding rehearsal room or institution of the founder and organizing public performances. The second part of this dissertation thesis describes the relationship between members of alternative music scene and representatives of political power based on several specific cases (Rockfest, Peace Concert of Olof Palme and repression). The whole text is concluded by chapters devoted to the ninetieth of twentieth century, dealing with the transformation of the Pilsen alternative music scene. All these themes are observed primarily by the witness's perspective. Key words: Pilsen...

The subject of this thesis is the design concept of the architectural study of a concert hall, namely the proposal for a "MUSIC SCENE" - the concert hall for the city of Brno. As part of this study is therefore designed a hall for 591 visitors. Hall enables performances to 90-member orchestra or choir. The solution is also operating and maintenance facilities necessary facilities like auditorium. The main emphasis was put on the acoustic solution, then the overall transparency in the operation of the building and the continuity of the building and the surrounding development mainly to the existing communication system that tries to respect.