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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.

Punk aesthetics in independent "new folk", 1990-2008.

Encarnacao, John January 2009 (has links)
Various commentators on punk (e.g. Laing 1985, Frith 1986, Goshert 2000, Reynolds 2005, Webb 2007) have remarked upon an essence or attitude which is much more central to it than any aspects of musical style. Through the analysis of specific recordings as texts, this study aims to deliver on this idea by suggesting that there is an entire generation of musicians working in the independent sphere creating music that combines resonances of folk music with demonstrable punk aesthetics. Given that the cultural formations of folk and punk share many rhetorics of authenticity – inclusivity, community, anti-establishment ideals and, to paraphrase Bannister (2006: xxvi) ‘technological dystopianism’ – it is perhaps not surprising that some successors of punk and hardcore, particularly in the U.S., would turn to folk after the commercialisation of grunge in the early 1990s. But beyond this, a historical survey of the roots of new folk leads us to the conclusion that the desire for spontaneity rather than perfection, for recorded artefacts which affirm music as a participatory process rather than a product to be consumed, is at least as old as recording technology itself. The ‘new folk’ of the last two decades often mythologises a pre-industrial past, even as it draws upon comparatively recent oppositional approaches to the recording as artefact that range from those of Bob Dylan to obscure outsider artists and lo-fi indie rockers. This study offers a survey of new folk which is overdue – to date, new folk has been virtually ignored by the academic literature. It considers the tangled lineages that inform this indie genre, in the process suggesting new aspects of the history of rock music which stretch all the way back to Depression-era recordings in the shape of Harry Smith’s Anthology of American Folk Music. At the same time, it attempts to steer a middle course between cultural studies approaches to popular music which at times fail to directly address music at all, and musicological approaches which are at times in danger of abstracting minutae until the broader frame is completely lost. By concentrating on three aspects of the recordings in question - vocal approach, a broad consideration of sound (inclusive of production values and timbre), and structure as it pertains to both individual pieces and albums – this work hopes to offer a fresh way of reading popular music texts which deals specifically with the music without losing sight of its broader function and context.

"Give me the safe word and smack me in the mouth, my love" : negotiating aesthetics of sound and expressions of love in the music of she wants revenge /

Hyndman, Sheena. January 2008 (has links)
Thesis (M.Ed.)--York University, 2008. Graduate Programme in Education. / Typescript. Includes bibliographical references (leaves 127-132). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR45946

Romantic, do-it-yourself, and sexually subversive an analysis of resistance in a Hawaiʻi local punk rock scene /

Takasugi, Fumiko. January 2004 (has links)
Thesis (Ph. D.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaves 256-265).

Analyser la prosodie musicale du punk, du rap et du ragga français (1977-1992) à l'aide de l'outil informatique / Analyze musical prosody of punk, rap and ragga French (1977-1992) using computer tools

Migliore, Olivier 13 December 2016 (has links)
A leur apparition, à la fin des années 1970 et au début des années 1980, le rap, le ragga et le punk français se distinguent substantiellement de la tradition de la chanson française qui demeure intimement liée à la tradition musicale occidentale et au chant. En particulier, l’expression vocale y est plus proche de la parole que du chant, et s'y révèle plus rythmique que mélodique. Cette singularité rend difficile toute analyse musicologique traditionnelle, et les analyses existantes se fondent davantage sur l’analyse du texte et le contexte social que sur la réalisation sonore. L’objet de notre thèse est de proposer une méthode d'analyse musicale assistée par ordinateur de la prosodie musicale à l’œuvre dans ces styles de musiques populaires, et ce, à partir de l’analyse automatique du son. L’extraction automatique des structures rythmiques de la voix à partir de l’analyse du son devrait permettre d’objectiver les propriétés rythmiques de la musique populaire. L’ensemble des analyses permettra d'observer précisément les relations rythmiques qu'entretiennent la voix et la musique, dans le but de caractériser et de différencier des styles de musique populaire. La période choisie (1977-1992) correspond à la sortie des premiers albums de punk en langue française et se clôt avec celle du premier album du groupe Massilia Sound System, pionniers du ragga marseillais. Quinze morceaux ont été choisis, cinq par style, pour leur représentativité de la diversité des premières productions en langue française dans chaque style. La présentation et l'application de notre méthode à des styles différents permettront d'initier l'étude approfondie de la prosodie musicale au sein de musiques vocales dans lesquelles le jeu rythmique prime sur la mélodicité. / At their appearance in the late 1970s and early 1980s, rap, ragga and punk french differ substantially from the tradition of French song which remains closely tied to the occidental musical tradition and singing. In particular, the vocal expression is closer to the word of the song, and it reveals more rhythmic than melodic. This uniqueness makes it difficult for traditional musicological analysis, and existing analyzes are based more on the analysis of the text and the social context that the sound production. The purpose of our work is to propose a method of computer-aided musical analysis of musical prosody at work in these popular styles of music, and this, from the automatic analysis of sound. Automatic extraction of rhythmic structures of the voice from the sound analysis should objectify the rhythmic properties of popular music. The analyzes will observe precisely the rhythmic relationship between voice and music, in order to characterize and differentiate the styles of popular music. The chosen period (1977-1992) corresponds to the output of the first punk albums in French and ends with that of the first album of Massilia Sound System, ragga pioneers of Marseilles. Fifteen songs were chosen by five style, for they represent the diversity of the first French-language productions in each style. The presentation and application of our method to different styles will initiate a comprehensive study of the musical prosody in vocal music in which the rhythm bonus game on the mélodicity.

O Hardcore em Goiânia nos anos 1990: um estilo de vida

Fleury, Luiz Eduardo de Jesus 27 August 2015 (has links)
Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-01-14T10:40:51Z No. of bitstreams: 2 Dissertação - Luiz Eduardo de Jesus Fleury - 2015.pdf: 5232611 bytes, checksum: f0875fd33a3477b1f3f3836b3e737234 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-01-15T08:16:56Z (GMT) No. of bitstreams: 2 Dissertação - Luiz Eduardo de Jesus Fleury - 2015.pdf: 5232611 bytes, checksum: f0875fd33a3477b1f3f3836b3e737234 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-01-15T08:16:56Z (GMT). No. of bitstreams: 2 Dissertação - Luiz Eduardo de Jesus Fleury - 2015.pdf: 5232611 bytes, checksum: f0875fd33a3477b1f3f3836b3e737234 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-08-27 / This thesis aims to discuss the Hardcore, here understood as an offshoot of the punk movement in the early 1980. The punk movement has its origins recognized in the United States and England, headed by small portions of youth in these countries and, in a sense, represents an important manifestation of counter-cultural nature. Not limited to their places of origin, we intend to trace how this movement arrives in Brazil, and especially as it is constituted in the city of Goiânia, which was chosen as the main cutting of this work. In this city, the first manifestations linked to Hardcore and Punk only happened in the late 1980s, when a number of situations that had great importance for this ideological and musical movement serve as expression of the revolt of certain local youth installment. In the subsequent decade, we will see a significant expansion of the movement in the city, as we have a great number of individuals participating in cultural activities and artistic productions linked to it. Seeking recognize the consolidation of this scene in Goiânia, this text will examine the materials produced during the 2000s, understood here as registering a memory of events that occurred in the previous two decades. / O presente trabalho tem como objetivo discutir do Hardcore, aqui entendido como um desdobramento do movimento punk, no início dos anos 1980. O movimento punk tem suas origens reconhecidas nos Estados Unidos e na Inglaterra, sendo capitaneado por pequenas parcelas da juventude desses países e, em certo sentido, representando uma importante manifestação de natureza contracultural. Não se restringindo aos seus locais de origem, pretendemos traçar como tal movimento chega ao Brasil e, principalmente, como se constitui na cidade de Goiânia, que foi escolhida como o recorte principal desse trabalho. Nesta cidade, as primeiras manifestações ligadas ao Hardcore e ao Punk só se deram no final da década de 1980, momento em que uma série de situações foi importante para que esse movimento ideológico e musical servisse de expressão da revolta de certas parcelas da juventude local. Na década subsequente, observaremos uma expansão significativa do movimento na cidade, na medida em que temos uma expressiva quantidade de indivíduos participando de ações culturais e produções artísticas vinculadas ao movimento. Buscando reconhecer a consolidação desta cena em Goiânia, o presente trabalho analisará os materiais produzidos ao longo dos anos 2000, entendidos aqui como registro de uma memória das manifestações ocorridas nas duas décadas anteriores.

Por ella, por la escena: la construcción de la identidad juvenil de los (chiki) punks de Lima

Silva Valencia, Gerardo Daniel 07 July 2017 (has links)
Desde su surgimiento a mediados del siglo XX el rock ha sido de especial interés para las ciencias sociales a partir el binomio de juventud y música. El presente trabajo es un estudio de caso sobre los discursos y las prácticas de los nuevos punks de Lima en el siglo XXI. Los rockeros subterráneos de los 80 bautizaron a estos jóvenes despectivamente como “chikipunks” por romper con los paradigmas que instauró el punk en el contexto nacional de los 80. Sin embargo, desde una profunda reflexividad y un inmenso acceso a información gracias al Internet, estos nuevos punks desarrollaron nuevas rebeldías frente a la hegemonía que nos ayudan a pensar en categorías como subcultura, tribu urbana y escena. Usando una metodología cuantitativa y de enfoque microsocial, esta investigación nos muestra a través de los conciertos los cambios y permanencias del género que sigue vigente con sus crecientes festivales que llegan a cifras de asistencia nunca antes vistas en el rock nacional. / Tesis

Straight edge: uma genealogia das condutas na encruzilhada do punk

Fernandes, Walisson Pereira 09 March 2015 (has links)
Made available in DSpace on 2016-04-26T14:55:10Z (GMT). No. of bitstreams: 1 Walisson Pereira Fernandes.pdf: 3336996 bytes, checksum: 5e0932a05bfd9f262378354964e1b59b (MD5) Previous issue date: 2015-03-09 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Straight edge is the word used to describe persons who, in their everyday lives, are allied to the punk to not use substances considered addictive as alcohol, tobacco and psychoactive. Its beginnings derive from the late 1970s and early 1980s in the United States. However, the genealogical analysis of their practices through the centuries, going back to abstainers movements of the United States and England between the nineteenth and twentieth centuries and its ballast in the formation of moral, instilling in policy that determine behavior. With the emergence of punk in the 1970s as criticism of moralism, society and the state, the straight edge emerges in this context bringing a punk hygiene and, over the years, has become more violent and reductionist, emancipating itself from protoform and pouring a new ways to build and to solidify. The straight edge approached the environmental movements, looking to list anarchist aspects in their practice, but only reiterated other political forms that are linked more to progressivism that, in fact, to anarchism. In this purpose, several straight edgers who sought anarchism as a way of life, broke with the straight edge to proceed their libertarian path, and kept at the same time, the practical abstainers without the use of the nomenclature that identified previously. In Brazil, similar to what happened in the United States and Europe, the intensification of the straight edge scene brought also the anarchist cells of eruption for the construction of a group of vegan orientation appropriating an anarchist nomenclature for its consolidation among young libertarians causing not only the bedlam among their peers, but catches of anarchism and punk / Straight edge é a palavra utilizada para descrever os sujeitos que, em suas vidas cotidianas, aliam-se ao punk de modo a não utilizarem substâncias consideradas viciantes, como álcool, tabaco e psicoativos. Seus começos derivam do final da década de 1970 e começo da década de 1980 nos Estados Unidos. No entanto, a análise genealógica de suas práticas atravessa os séculos, remontando aos movimentos abstêmios dos Estados Unidos e da Inglaterra entre os séculos XIX e XX e seu lastro na formação da moral, infundindo na elaboração de políticas que determinariam condutas. Com o surgimento do punk na década de 1970 como crítica aos moralismos, à sociedade e ao Estado, o straight edge emerge neste contexto trazendo uma higienização do punk e, com o passar dos anos, se tornou mais violento e reducionista, desvinculando-se de sua protoforma e vertendo novos meios para se construir e se solidificar. O straight edge aproximou-se dos movimentos ambientalistas, procurando elencar aspectos anarquistas em sua prática, mas reiterou apenas outras formas políticas que vinculam-se mais a progressismos que, de fato, aos anarquismos. Neste intento, vários straight edgers que procuraram os anarquismos como forma de vida, romperam com o straight edge para dar prosseguimento a sua trajetória libertária, e mantiveram, ao mesmo tempo, as práticas abstêmias sem o uso da nomenclatura que os identificava anteriormente. No Brasil, semelhantemente ao ocorrido nos Estados Unidos e na Europa, a intensificação da cena straight edge trouxe, ainda, o irrompimento de células anarquistas para a construção de um grupo de orientação vegana apropriando-se de uma nomenclatura anarquista para sua consolidação entre jovens libertários, causando não apenas a balbúrdia entre seus pares, mas capturas dos anarquismos e do punk

O movimento Punk no ABC Paulista: anjos: uma vertente radical / The Punk movement in the ABC Paulista: Anjos: a radical tendency

Teixeira, Aldemir Leonardo 05 November 2007 (has links)
Made available in DSpace on 2016-04-26T14:56:41Z (GMT). No. of bitstreams: 1 Aldemir Leonardo Teixiera.pdf: 8752878 bytes, checksum: 347d8c9843c7a798996900350ea66c92 (MD5) Previous issue date: 2007-11-05 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The Punk Movement emerged in the mid-1970s as one of the last anti-establishment movements. It started mainly as a musical phenomenon, the punk rock, anti-conformist protest adopted by part of the young American intellectuals and then by the British. In the beggining it was against the commercialism that rock music had submitted to, afterwards it expanded to a social, cultural and artistic movement of anti-establishment youthful challenge. It grew and radicalized within the working class, mainly in Britain, afterwards it spread across all over the world seen by authorities as a subversive culture movement. In Brazil it started in many metropolitan regions of São Paulo in which the most expressivity was observed in the center region emphasized by the media factor, and in the industrial part of ABC region where it obtained more expressive and radical ways where the movement was involved with the working and union fights accurred in the late 1970s and beggining of 1980s / O Movimento Punk surge em meados dos anos 70 como um dos últimos movimentos contraculturais. Se deu primeiramente como um fenômeno musical, o punk rock, música de protesto anti-conformista adotado por uma parcela de jovens intelectuais norte-americanos e depois ingleses. A princípio foi contra a comercialização à qual o rock havia se submetido, posteriormente se expandiu como um movimento social, cultural e artístico, de contestação juvenil anti-establishment. Cresceu e se radicalizou junto à classe operária, principalmente a inglesa, depois se proliferou para o mundo todo, visto pelas autoridades como um movimento de cultura subversiva . No Brasil o movimento radicou-se nas diversas regiões metropolitanas de São Paulo, tendo maior expressividade no centro da capital enfatizado pelo fator midiático e na região industrial do ABC, onde obteve formas mais expressivas e radicais, estando envolvido com as lutas operárias e sindicais ocorridas no final da década de 70 e início dos anos de 1980. Orientador: Dr. Edgard de Assis Carvalho - PUC

Vivo na cidade: a experiência urbana na cultura punk / Living (alive) in the city: the urban experience in punk culture.

Débora Gomes dos Santos 12 May 2015 (has links)
O advento do punk assinalou um ponto de inflexão dentro do universo cultural pop. A música punk, elemento centralizador da identidade do movimento, emergiu com a proposta de romper com as tradicionais premissas de aptidão e técnica cada vez mais presentes na música de meados da década de 1970. O retorno a um desenho musical simples e visceral somado à valorização de uma realidade cotidiana ordinária trouxe para o centro da composição tanto sonoridades características das grandes cidades quanto narrativas relativas à vida no âmbito da metrópole, fazendo da música punk um potente veículo de absorção e transmissão de experiências urbanas. Assim, este trabalho explora a música como elemento catalisador de formas de apropriação e ação na dimensão da cidade e a música punk enquanto lente para a análise do fenômeno urbano, em particular pela observação de quais olhares o punk brasileiro lança sobre o espaço urbano no contexto periférico da cidade de São Paulo. Na produção das bandas punks que emergiram na cidade no início da década de 1980, período fundamentalmente marcado por um truncado processo de redemocratização, observa-se uma acentuação das questões colocadas pelo punk no plano internacional. No contexto brasileiro a linguagem agressiva do punk foi superlativada pela ânsia da juventude carente em expressar a própria experiência de crise em meio à particular complexidade da metrópole paulistana. A contundência e a densidade da música punk evidenciam, portanto, as tensões e relações tacitamente presentes no espaço da cidade a partir da percepção sensível daqueles que vivenciam seus espaços, de forma a permitir uma investigação mais complexa do fenômeno urbano. / The advent of punk marked a turning point amidst the pop culture universe. Punk music, as the centralizing element of the movements identity, emerged with the proposal of breaking-up the conventions of musical expertise and technique increasingly present in rock compositions of the early 1970s. The return to a simple and visceral musical form combined with an emphasis on the dynamics of an ordinary everyday reality brought to the composition core both the particular sonorities of the great cities the general hum of the city as well as narratives of urban daily life, establishing punk music as a powerful vehicle of transmission of urban experiences. Therefore, this dissertation aims to explore music as a catalyst of different forms of urban appropriations and punk music as a specific lens for the analysis of urban phenomena, particularly by observing which questions Brazilian punk casts over the peripheral urban context of Sao Paulo, Brazil. The Brazilian punk bands that emerged in the early 1980s, a period essentially marked by an inconclusive process of political redemocratization, show a particular accent over the issues raised by international punk scenes. The Brazilian context enhanced the rudeness and aggressiveness of punk language, since it embodied an up until then unprecedented possibility for the deprived urban youth of expressing their experience of crisis amidst the complexity of São Paulos urban environment. The strength and density of punk music draw attention to the tensions and relations tacitly present in the city as they are perceived and experienced in everyday life, thus allowing a more complex investigation of the urban space.

Act Like a Punk, Sing Like a Feminist: A Longitudinal Content Analysis of Feminist Themes in Punk Rock Song Lyrics, 1970-2009

Levine, Lauren E. 05 1900 (has links)
Punk rock music has long been labeled sexist as copious media-generated accounts and reports of the genre concentrate on male artists, hyper-masculine performances, and lyrics considered to be aggressive, sexist, and misogynist. However, scholars have rarely examined punk rock music longitudinally, focusing heavily on 1980s and 1990s manifestations of the genre. Furthermore, few systematic content analyses of feminist themes in punk rock song lyrics have been conducted. The present research is a longitudinal content analysis of lyrics of 600 punk rock songs released for four decades between 1970 and 2009 to examine the prevalence of and longitudinal shifts in antiestablishment themes, the prevalence of and longitudinal shifts in sexist themes relative to feminist themes, the prevalence of and longitudinal shifts in specific feminist branches, and what factors are related to feminism. Using top-rated albums retrieved from Sputnik Music’s “Best Punk Albums” charts, systematic random sampling was applied to select 50 songs for each combination of three gender types and four decades. Sexism and feminism were then operationalized to construct a coding sheet to examine relevant dimensions. While the present study found no significant patterns of longitudinal increase or decrease in feminist or sexist themes, it revealed that feminist themes were consistently high across four decades and, furthermore, indicated a phenomenon of post-modern hybridity.

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