From the claims of punk rocker GG Allin aiming to shed his own blood for Rock ‘n’ Roll to the religiously tinted narratives of Bruce Springsteen we come to find artists using religious references to color their artistic medium. A question arises: Could these utterances and narratives show a deeper meaning behind Rock ‘n’ Roll such that it can give individuals a way to obtain religious experience? This thesis aims at arguing for the ability of Rock ‘n’ Roll as having a way to incite feelings of religious experience and communitas. Through the usage of auto-ethnography coupled with subsidiary sources from academic to pop culture writers this thesis will investigate if such a creative form helps to enable individuals to experience transcendence and feelings of community while immersed in Rock ‘n’ Roll.

From the claims of punk rocker GG Allin aiming to shed his own blood for Rock ‘n’ Roll to the religiously tinted narratives of Bruce Springsteen we come to find artists using religious references to color their artistic medium. A question arises: Could these utterances and narratives show a deeper meaning behind Rock ‘n’ Roll such that it can give individuals a way to obtain religious experience? This thesis aims at arguing for the ability of Rock ‘n’ Roll as having a way to incite feelings of religious experience and communitas. Through the usage of auto-ethnography coupled with subsidiary sources from academic to pop culture writers this thesis will investigate if such a creative form helps to enable individuals to experience transcendence and feelings of community while immersed in Rock ‘n’ Roll.

Através da utilização de letras de músicas produzidas entre os anos de 1981 e 1989, busquei analisar o papel que o rock brasileiro teve como elemento de manifestação da juventude que havia crescido sob a ditadura de 1964. Utilizei os conceitos de utopia e distopia para compreender de que maneira essas letras, ao mesmo tempo, serviram como representação da compreensão desses jovens de seu momento histórico e como instrumento de crítica da realidade econômica e social ao seu redor. Mais do que reflexo cultural de seu período, tais letras manifestavam a contradição ideológica da época, na qual a utopia em torno de uma sociedade melhor era negada pela própria distopia presente nas relações econômicas e sociais cotidianas. Esta mesma contradição foi observada na relação entre arte e mercado, criticada por muitas bandas, mas necessária para que suas músicas alcançassem seus ouvintes. É importante ressaltar que o movimento punk brasileiro teve papel fundamental para as bandas do rock brasileiro da década de 1980, pois ele mostrou que era possível produzir músicas para e pela juventude que vivia a transição da ditadura para a democracia. / Using lyrics of songs produced from 1981 to 1989, I tried to analyze the role Brazilian rock n roll had as an element of manifestation of youngsters who had grown up during the 1964 dictatorship. I used the concepts of utopia and dystopia to understand in which way these lyrics, at the same time, served as a representation of the understanding of these youngsters of their historical moment and as an instrument of criticism of the economic and social reality that surrounded them. More than just a cultural reflex of their period, these lyrics demonstrated the ideological contradiction of their time, in which utopia regarding a better society was denied by dystopia that could be found on daily economic and social relations. That same contradiction was observed on the relation between art and market, criticized by many bands, but necessary for the dissemination of their songs among their listeners. It is important to say that the Brazilian punk movement had a fundamental role for the Brazilian rock bands of the 1980s, since it showed it was possible to make songs for and by the youngsters that were living the transition from dictatorship to democracy.

Através da utilização de letras de músicas produzidas entre os anos de 1981 e 1989, busquei analisar o papel que o rock brasileiro teve como elemento de manifestação da juventude que havia crescido sob a ditadura de 1964. Utilizei os conceitos de utopia e distopia para compreender de que maneira essas letras, ao mesmo tempo, serviram como representação da compreensão desses jovens de seu momento histórico e como instrumento de crítica da realidade econômica e social ao seu redor. Mais do que reflexo cultural de seu período, tais letras manifestavam a contradição ideológica da época, na qual a utopia em torno de uma sociedade melhor era negada pela própria distopia presente nas relações econômicas e sociais cotidianas. Esta mesma contradição foi observada na relação entre arte e mercado, criticada por muitas bandas, mas necessária para que suas músicas alcançassem seus ouvintes. É importante ressaltar que o movimento punk brasileiro teve papel fundamental para as bandas do rock brasileiro da década de 1980, pois ele mostrou que era possível produzir músicas para e pela juventude que vivia a transição da ditadura para a democracia. / Using lyrics of songs produced from 1981 to 1989, I tried to analyze the role Brazilian rock n roll had as an element of manifestation of youngsters who had grown up during the 1964 dictatorship. I used the concepts of utopia and dystopia to understand in which way these lyrics, at the same time, served as a representation of the understanding of these youngsters of their historical moment and as an instrument of criticism of the economic and social reality that surrounded them. More than just a cultural reflex of their period, these lyrics demonstrated the ideological contradiction of their time, in which utopia regarding a better society was denied by dystopia that could be found on daily economic and social relations. That same contradiction was observed on the relation between art and market, criticized by many bands, but necessary for the dissemination of their songs among their listeners. It is important to say that the Brazilian punk movement had a fundamental role for the Brazilian rock bands of the 1980s, since it showed it was possible to make songs for and by the youngsters that were living the transition from dictatorship to democracy.

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La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’université de Montréal (www.bib.umontreal.ca/MU). / WAG! The Musical est la seconde comédie musicale d'Aleksey Shegolev ainsi que la première à être exécutée dans un théâtre off-Broadway à New York durant l'été 2013. Une des premières comédies de William Shakespeare, Peines d’amour perdues, a servi d’inspiration pour son partenaire Julian Silverman (dramaturge) et lui (compositeur et librettiste) dans la composition de WAG!. Afin de moderniser le sujet shakespearien traité dans les Peines d’amour perdues, plusieurs ajustements ont été nécessaires. Dans le but de maintenir l’attention des spectateurs, le niveau d'intensité dans l’action doit constamment s'élever. Cette thèse traitera notamment des divers procédés musicaux employés dans le but de soutenir l’action. Le rock ' n' roll, ainsi que le jazz furent les principaux langages musicaux à avoir une forte influence sur cette composition. Conséquemment, à travers une analyse détaillée, Shegolev explique comment le rythme, l'harmonie et la texture construisent sa comédie musicale. De plus, la manière de rendre l’humour en musique, si nécessaire au genre comique, sera également objet de discussion dans cette dissertation. La dissertation sera clôturée par un chapitre qui traitera de l'expérience personnelle que Shegolev a accumulée au cours des ateliers de lecture et des répétitions aux quelles sa pièce a été assujettie, afin de monter WAG! dans un théâtre de production à petite échelle à New York. / WAG! The Musical is Aleksey Shegolev's second full-length musical and it is the first to be performed in an off-Broadway theatre in New York during the summer of 2013. The idea for the plot was inspired by William Shakespeare’s Love’s Labour's Lost, and he and his partner, Julian Silverman, created a story fit for modern times. Shegolev was the composer and lyricist, while Silverman was the book writer. Good storytelling and strong songwriting depends on the characters having a goal to pursue as they overcome the obstacles in their paths. As the story progresses, the level of intensity must always rise to keep the audiences’ attention. Jazz and rock ‘n’ roll were the main musical influences on this piece and we will see how rhythm, harmony and texture played a part in creating WAG!. Musicalizing comedy by using various techniques in composition is another topic that will be explored. Finally, this dissertation will close with Shegolev's experiences during the workshop from dealing with the director to the endless revisions and cuts that had to be made before opening night.

This Master's thesis examines girls' self-esteem through a qualitative research project held in the summer of 2010 at Portland, Oregon's Rock 'n' Roll Camp for Girls. I interviewed ten white, middle class girls between the ages of ten and thirteen on various subjects including demographics, self-esteem, music, Rock 'n' Roll Camp for Girls and finally, experiences and pressures associated with being a girl. One key finding was the unique set of circumstances and experiences present which may foster higher self-esteem: 1) freedom from gender normative behavior; 2) skill mastery associated with learning an instrument; 3) support for a wider range of self-expression; 4) removal of the male gaze and male approval [in a female only space]; and 5) access to female role models. This thesis suggests that through their involvement with the Rock 'n' Roll Camp for Girls, these ten girls experience greater self-esteem.

Lavada “Dr. Hepcat” Durst was the first African American popular music disc jockey in Texas. His radio program The Rosewood Ramble was broadcast on Austin station KVET-1300 AM from 1948 until 1963. KVET’s white owners, who included future Texas politicians John Connally and J. J. “Jake” Pickle, were not outspoken advocates for the rights of African Americans under Jim Crow, but they hired Durst in a concentrated effort to expand KVET’s African American listening audience. The Rosewood Ramble became a cultural, economic, and psychological resource for black radio listeners in segregated central Texas while also becoming the region’s most popular radio show among white listeners. This paper uses a mixture of oral history and archival sources to argue that Durst’s fifteen-year career at KVET was only the best-known part of a lifetime spent as an information broker to Austin’s embattled black community. / text

Vince Guaraldi (1928-1976) was a jazz pianist who achieved tremendous financial and commercial success in the 1960s with his popular recordings and his work for the Peanuts animated shorts. He cultivated a musical style that drew from several identifiable sources: boogie-woogie, bebop, Brazilian and Afro-Cuban jazz, and rock ‘n' roll. The result was a distinct approach to jazz which, although it may not have been as influential as that of some of his contemporaries, nevertheless constituted a unique and personal voice—what several commentators have referred to as the "Guaraldi sound." This dissertation considers the entire range of Guaraldi's recorded output in order to define and catalog many elements that contributed to Guaraldi's musical style. Using an analytical framework drawn from the work of Leonard Meyer and Benjamin Givan, this study describes both Guaraldi's improvisational style—the licks, patterns, and phrases that he plays while soloing—and common elements of his compositions—the chord progressions, grooves, and other features that are particularly idiomatic. Also discussed are Guaraldi's status within the established jazz canon and the disparity between his widespread popularity and his lukewarm critical reputation. The discussion and analyses provide useful insights for fans of Guaraldi, fans of Peanuts music, jazz musicologists, and any seeking to emulate the Guaraldi sound.