Twenty-five years of independent, underground, or punk rock music-making in St. John's, Newfoundland, have been defined by geographic isolation. In tracing a historical record of the small city's punk/indie scene, this project seeks to evaluate recent academic discussion surrounding the role of collectivity in artistic 'independence' and examine the impact of prevailing international aesthetics and changing communication technologies on local practice. The self-containment and self-sufficiency of the St. John's music community, largely the product of the city's isolated position on the extreme eastern tip of a large island off the east coast of North America, provide a unique backdrop against which to foreground a discussion of the distance between indie/punk rhetoric and reality. I contend that 'scene' in popular and academic use refers to the casual aggregation occasioned by similar interest and shared location, while 'community' hints at effort, co-operation and productive support.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-10-05T12:07:11Z No. of bitstreams: 1 Mauro Barro Fiuza.pdf: 3404780 bytes, checksum: 792d876810683f7ee0328929b2a25b4f (MD5) / Made available in DSpace on 2018-10-05T12:07:11Z (GMT). No. of bitstreams: 1 Mauro Barro Fiuza.pdf: 3404780 bytes, checksum: 792d876810683f7ee0328929b2a25b4f (MD5) Previous issue date: 2018-08-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Introduction: intentional voice distortion creates different vocal qualities that may even resemble to a dysphonic voice. This feature is used in singing as an element of expressiveness in several musical genres but are known as characteristics of rock. Studies have been done with the purpose to understand the ways these distortions are produced, but few sought to understand the acoustic variations of each vocal setting Objective: to analyze different intentional voice distortions in rock singers based on acoustic analysis. Method: eight singers, six men and two women, with an average age of 36 years old, who answered a survey in which they indicated the types of voice distortions they used. Then the following sound samples were collected: vowel emission [e], music section and sustained distorted voice for each of the previously listed types. Acoustic and visual-acoustic analysis were performed and the values of fundamental frequency, the vowel used in the sustained distortion, the spectrographic trace, the amount of sub-harmonics and the range of the harmonic component were extracted. The data of the distortions in the music section and sustained sample were compared and the spectrographic traces were classified according to the presence of harmonics and noise. Results: 47 types of distortions were collected. In 38 types there were only a small variation in the comparison between the samples of the adjustments in the music and sustained distortion. The types of spectrographic traces that mixed harmonics and noise were the majority, 37 of them in the music samples and 38 in the sustained ones. The most used vowels were intermediate (33) and anterior (32). Six types presented only noise and there was a variation in the number of sub-harmonics from zero to eight. Conclusion: of all the intentional voice distortions collected, the majority presented spectrographic traces with the presence of both harmonic and noise components, but with a great variation in the harmonic component ranges and the sub-harmonic ratio in relation to the fundamental frequency. Factors such as the chosen vowel and the fundamental frequency sung influenced the precision of the emission of the distortions, which evidenced the need to understand the specificities of each type. Similarity was also observed when comparing sustained distorted sounds and music sections / Introdução: a distorção vocal intencional cria diferentes qualidades de voz que podem até se assemelhar a uma voz disfônica. Esse recurso é utilizado no canto como elemento de expressividade em diversos gêneros musicais, mas são conhecidos como característicos do rock. Estudos foram realizados com o objetivo de entender as formas de produção dessas distorções, mas poucos buscaram compreender as variações acústicas de cada ajuste. Objetivo: analisar diferentes distorções vocais intencionais em cantores de rock por meio da análise acústica. Método: oito cantores, seis homens e duas mulheres, com média de 36 anos responderam um questionário no qual indicaram os tipos de distorções que dominavam. Em seguida as seguintes tarefas foram gravadas em áudio: emissão da vogal [e] em tom habitual de fala, trecho de música e ajuste distorcido sustentado para cada um dos tipos listados. Foi realizada análise acústica e acústico-visual e extraídos os valores de frequência fundamental, a vogal utilizada na distorção sustentada, o traçado espectrográfico, a quantidade de sub-harmônicos e alcance do componente harmônico. Os dados das distorções na música e sustentadas foram comparados e os traçados espectrográficos foram classificados de acordo com a presença de harmônicos e ruído. Resultados: foram coletados 47 tipos de distorções. Em 38 tipos houve apenas uma pequena variação na comparação entre as amostras dos ajustes na música e sustentadas. Os tipos de traçados espectrográficos que mesclavam harmônicos e ruído foram a maioria, 37 nas amostras na música e 38 nas sustentadas. As vogais mais utilizadas foram as intermediárias (33) e anteriores (32). Seis ajustes apresentaram apenas ruído e houve variação na quantidade de sub-harmônicos de zero a até oito. Conclusão: de todas as distorções vocais intencionais coletadas a maioria apresentou traçado espectrográfico com presença tanto de componente harmônico quanto de ruído, porém, com grande variação no alcance do componente harmônico e da proporção dos sub-harmônicos em relação à frequência fundamental. Fatores como a vogal escolhida e a frequência fundamental emitida influenciaram na precisão da emissão dos ajustes, o que evidenciou a necessidade de se compreender as especificidades de cada um. Também foi constatada similaridade ao comparar ajustes distorcidos sustentados e nas músicas

何楠. / "2011年9月". / "2011 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 170-177). / Abstract in Chinese and English. / He Nan. / Chapter 第一章 --- 引言 --- p.1 / 獨立搖滾音樂：夾縫中的茁壯 --- p.1 / 80後：最好的一代，最壞的一代 --- p.5 / Chapter 第二章 --- 文獻綜述 --- p.11 / Chapter I. --- 亞文化與亞文化資 本 --- p.11 / Chapter II. --- 原真性 --- p.19 / Chapter III --- 音樂場域與現場表演 --- p.28 / Chapter 第三章 --- 研究問題與研究方法 --- p.40 / 研究問題 --- p.40 / 研究方法 --- p.44 / Chapter 第四章 --- MAO:音樂場域的當代脈搏 --- p.50 / Super-flat： 二維化的無差別世界 --- p.55 / 金屬熔爐：身份感的焦慮再塑 --- p.58 / 昏暗洞穴：便利商店式的多樣可能 --- p.60 / 刻刀與塗改液：塗鴉的社會學暗喻 --- p.62 / 環境控制：時空抽離與去語境化 --- p.65 / MAO之意象：本源缺失的歷史反哺 --- p.67 / Chapter 第五章 --- 家之出走´ؤ´ؤ後逃離時代的身份危機 --- p.69 / 李震一一我在遠方，比遠方更遠 --- p.71 / 小雪´ؤ´ؤ我從來不求被他人理解，被理解類似於自我賣淫 --- p.84 / 家之出走´ؤ´ؤ後逃離時代的身份危機 --- p.90 / Chapter 第六章 --- 我是理想的私生子 --- p.95 / 老木´ؤ´ؤ生活面前，我便裝睡。而你永遠無法叫醒一個裝睡的人 --- p.97 / Jason´ؤ´ؤ只有在音樂裏，我才是個健全的人 --- p.107 / 我是理想的私生子 --- p.116 / Chapter 第七章 --- 拒做“稻草人´ح --- p.119 / 灰灰一一迷失便是對我最大的寬容和尊重 --- p.121 / 二狗´ؤ´ؤ我迷戀詩意的世界 --- p.128 / 拒做“稻草人´ح --- p.135 / Chapter 第八章 --- 獨立搖滾音樂：亞文化資本、原真性、音樂場域/現場演出的角鬥場 --- p.139 / 亞文化資本：POGO之身體政治 --- p.139 / 原真性：理想自我的多重角力 --- p.146 / 音樂場域與現場演出：“情感聯盟´ح與“文化流浪´ح --- p.157 / Chapter 第九章 --- 結語：無身份的人與不確定的狀態 --- p.163 / 參考文獻（中文)： --- p.170 / 參考文獻（英文)： --- p.171 / 附錄：本文所涉及的關鍵名詞之解釋 --- p.178

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

Making the Scene: An Investigation of the Rock and Roll Scenes of Nashville, Tennessee, and Athens, Georgia, takes a look at the ways in which both the identities of a music scene and the individuals taking part in that scene are created and maintained. Issues of identity are addressed by examining the roles performed by various members of the scene (musicians, soundmen, club owners, etc . . .), by focusing on the influence of landscape, and looking at the ways a scene’s members identify with the cultural region that surrounds their particular scene (in this case both scenes are located in the American South). Data for this thesis was gathered in two ways: through traditional, ethnographic interview with musicians from Athens, and Nashville, and from the author’s personal experience as a member of the Nashville rock Scene from 1990 to 2001. Secondary sources were also consulted. Having analyzed the data, the author concludes that the scene is a function of culture; it is created and sustained through personal interaction and cultural imagination—individuals create and sustain it. Once it is created, once it is constructed, and named, the scene has an affect on the individuals that come to take part in it. It helps to shape their identities. Individuals, however, continue to exert influence over the scene, constantly altering its character.

Thesis (M.A.)--Georgia State University, 2006. / Title from title screen. Susan Talburt, committee chair; Kathryn McClymond, Layli Phillips, committee members. Electronic text (145 p.) : digital, PDF file. Description based on contents viewed May 16, 2007. Includes bibliographical references (p. 120-131).

Case study research allows for an in depth study of an individual and yields relevant insight and results while examining an individual in their entirety. This approach allows the researcher to capture the uniqueness of a subject and thus provide an interesting understanding of that individual. The study is a case study of Kurt Donald Cobain. Cobain (1967-1994) was an American musician who served as songwriter, lead singer and guitarist for the band, Nirvana. He struggled with drug addiction during the last years of his life, and died on 8 April 1994 from a self-inflicted gunshot wound to his head (Sandford, 1995). The study is a single case research design, utilizing both qualitative and quantitative data. It aimed to explore and describe Kurt Cobain’s personality according to the Five Factor Model of Personality. He was chosen as the research subject by means of purposive sampling on the basis of the researcher’s interest and on his uniqueness and inspirational influences on the general public. Collected data was analyzed in accordance with Huberman and Miles’s (1994) general approach which consists of data reduction, data display and conclusion drawing and verification. Descriptive tables from the NEO-PI-R personality measure were further interpreted to provide quantitative information regarding the personality traits of the subject. The findings of this study suggest that Kurt Cobain portrayed a complex personality profile as an individual, and it appears that he experienced much distress and emotional instability within his life. However, he was able to provide the youth a means of expressing themselves through his music.

Judith Butler’s writings on gender ostensibly changed the way gender is considered with regard to an individual’s subjectivity. Her writings expressed a discursive parameter that changed the theoretical standpoint of gender from that of performance, to that of performativity. In short, the notion of gender became understood as a power mechanism operating within society that compels individuals along the heteronormal binary tracts of male or female, man or woman. Within the strata of popular culture, this binarism is seemingly ritualized and repeated, incessantly. This treatise examines how rock music, as a popular and widespread mode of popular music, exemplifies gender binarism through a notable ndrocentrism. The research will examine how gender performativity operates within the taxonomy of rock music, and how the message communicated by rock music becomes translated into a listener’s subjectivity.

Psychobiographies use psychological theory as a paradigm within which to re-awaken an individual’s life story. The psychobiographical approach historically tended to be neglected within the South African context. The aim of the current study was to explore and describe the life of Ralph John Rabie through the use of psychobiography. Ralph John Rabie (1960 – 2002) was a South African Afrikaans singer-songwriter, journalist and playwright, also known as Johannes Kerkorrel. He challenged the cultural system and the government and was arguably the most prominent member of the Alternative Afrikaans Movement until his suicide on 12 November 2002. To some he betrayed the identity of post-apartheid Afrikanerdom and to others he became an icon in the homosexual community. No existing literature to date has adopted a psychological stance on this controversial South African figure. His own writings and published material by others were utilized to illuminate his life and its many dimensions. Richard C. Schwartz’s Internal Family Systems Model (1995) was used to analyze the multiplicity and inner workings of Rabie’s personality. The influence of external systems is also discussed. The data collection and analysis were conducted according to Yin’s (1994) analytic generalization, which consists of using theoretical guidelines as a framework to select relevant data and develop a matrix as a descriptive framework for organizing and integrating the data. Alexander’s (1988) nine proposed guidelines assisted in the process of data analysis, together with the Internal Family Systems Model (1995). The findings of the study indicate that subpersonalities in different roles could be identified in Rabie’s life as described by Schwartz (1995). The different subpersonalities interacted with each other and assumed roles to protect Rabie. The findings of the study also indicated that these subpersonalities used stories to obtain power and influence within Rabie’s personality structure. The subpersonalities were successful in making Rabie influential and famous within the Afrikaans music industry and they helped Rabie change rigid Afrikaans cultural beliefs that were present within the Apartheid system. The findings further indicate how important it is for subpersonalities to work together and how a fragmented system is difficult to contain.