Thesis (M.A.)--Ohio State University, 1982. / Includes bibliographical references (leaves 161-170). Available online via OhioLINK's ETD Center.

Thesis (Ph. D.)--University of London, 1999. / BLDSC reference no.: DX211479.

Thesis (M.A.)--Rutgers University, 2009. / "Graduate Program in Liberal Studies." Includes bibliographical references (p. 35-36).

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI/Dissertation Abstracts International.

Thesis (Ph. D.)--University of Chicago, Dept. of Music, Dec. 2003. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--University of Chicago, Department of Music, December 2003. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 196-206). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (p. 412-432) and a discography.

Since rock became the subject of academic study, its attendant ideology has been scrutinised and its mythical and Romantic components exposed. Largely absent from this account has been a thorough analysis of the phenomenon of the ‘band’. The role of individual acts and the wider contexts in which they worked has been discussed at the expense of an examination of an important form of music-making. This thesis seeks to address that gap. Using a mixture of literary research and ethnography, I present an overall picture of the band as a modus operandum, charting its evolution during the emergence of rock and presenting evidence that it has become a key means by which people enter and engage with the field of popular music. I suggest that debates about ‘authenticity’ in rock, in seeking to see through industry rhetoric have overlooked the way in which creativity in bands is closely connected to social interaction. My historical analysis brings to light the way in which the group- identified band has become embedded into popular music practice through the power of narratives.Two case studies, contextualised with archival material and interviews, form the basis for a model for collective creativity. By demonstrating how social action and narrative myth feed into one another, I argue that the group identity of a band is the core of the industrially mediated texts to which audiences respond. Our understanding of how authenticity is ascribed in popular music, and rock in particular, has paid too much attention to genre-based arguments and not enough to musical and social methods. I propose a way of revising this to take better account of rock as an actual practice.

This thesis explores how musical recordings circulate within various sites of metacultural analysis, such as print music publications, music blogs, community-based campus radio music programmes and music podcasts. Drawing on theories about cultural production, the circulation of cultural objects, and metaculture (circulation of ideas about cultural objects, rather than the objects themselves), the author traces how an independent record label discursively positions musical recordings for movement towards and within these meaning-making spheres. Print music publications and music blogs facilitate recognition and consecration of recordings in different capacities, particularly in relation to music publicity. Community-based campus (c/c) radio and music podcasts situate recordings within new cultural objects--radio texts--that engage with listeners in different ways. In this manner, all sites are stakeholders in shaping the meaning of a musical recording and propel its actual and metacultural circulation along various trajectories. / Cette thèse explore comment les enregistrements musicaux circulent à travers différents lieuxd'analyse métaculturelle, comme les publications imprimées traitant de musique, les bloguesmusicaux, les émissions de musique des radios communautaires et universitaires ainsi que lesbaladodiffusions musicales. Basé sur les théories de la création de la culture, de latransmission des objets culturels et métaculturel (la circulation d'idées à propos d'objetsculturels plutôt qu'à propos des objets eux-mêmes), l'auteur démontre les méthodesdiscursivement employées par une étiquette indépendante afin d'encourager le mouvement deses enregistrements musicaux au sein de ces sphères créatrices de sens. Les publicationsimprimées et les blogues musicaux facilitent la reconnaissance et la consécration desenregistrements musicaux, notamment à travers la promotion de la musique. Les radioscommunautaires et universitaires ainsi que les baladodiffusions musicales placent cesenregistrements à l'intérieur d'un nouvel objet culturel- le contenu radiophonique -lesquelsattirent l'attention de l'auditoire de différentes façons. Ainsi, tous ces environnementscontribuent à donner un sens à l'enregistrement musical et à le propulser, au sens propre et ausens métaculturel, vers ses trajectoires variées.