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.

Thesis (M.A.)--Cincinnati Christian Seminary, 1985. / Includes bibliographical references (leaf 182).

Thesis (Ph. D.)--York University, 2002. Graduate Programme in Ethnomusicology. / Typescript. Name on certificate page: Christopher James McDonald. Appendices include musical and lyric transcriptions. Includes bibliographical references (leaves 571-602). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ82808.

The music industry in 1962 reflected the political turmoil of the times. Dinner and dancing was a popular pastime. The music Americans heard and enjoyed over the airways was limited, however, by payola. Program directors adhered to criteria that supported the corporate fiscal model of their radio stations. Songs needed to attract listeners and major advertisers. Payola typically involved direct payments from major record labels to disc jockeys and the rewards were lucrative. Record labels fed them songs to play and disc jockeys became loyal to the payments. Thus, payola became a bottleneck to broader distribution of other artists, which hurt musicians, small record labels, and the public, and increased the price of music. Entertainment managers were ambitious band managers who took on additional roles due to the high costs of producing and promoting songs. The case of Robby and the Troubadours is shared through a historical simulated marketing plan. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2018. / FAU Electronic Theses and Dissertations Collection

Thesis (M.A.)--Cincinnati Christian Seminary, 1985. / Includes bibliographical references (leaf 182).

Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2009. / The aim of this study is to examine the rise of Afrikaans rock music and the literary status of Afrikaans rock lyrics, with Fokofpolisiekar as example. An investigation is done into how the specific sociopolitical context within which Afrikaans rock music developed manifests in lyrics and musical style. The implications of Afrikaans rock with regards to the identity of Afrikaner youth in the new millennium are also explored. A case study of the Afrikaans punk rock group Fokofpolisiekar is done by way of demonstration of this interdisciplinary and contextual investigation. Not only the formation and impact of the group are examined, but a considerable section of the thesis is dedicated to the analysis and interpretation of this group’s lyrics, which are viewed and explored from a literary point of view. In this process certain questions regarding the position of lyrics in the Afrikaans literary system comes under scrutiny. The analysis and interpretation of the lyrics of Fokofpolisiekar are therefore aimed towards examining the literary status of this group’s lyrics. It will be proved that the sociopolitical context within which Fokofpolisiekar’s lyrics came to be formulated, impacted on the character and themes thereof. The thematic struggle with issues like liberation (redemption) and identity in the lyrics are shown to bear relation to the sociopolitical context of the Afrikaner youth after the Afrikaner’s loss of power in 1994 and the postmodern condition at the turn of the millennium. This postmodern condition is characterized by the continuing fragmentation of identity. The conclusion is made that Afrikaans popular music sets up a space within which new ideas with regards to ‘truths’ of identity can be formulated. In other words, the punk rock music of Fokofpolisiekar offers an opportunity for the re-articulation of Afrikaner identity. By incorporating the polysistem theory (and other relevant theories) in investigating the creation and reception of Fokofpolisiekar’s lyrics, it is shown that the Afrikaans literary system holds a place for Afrikaans lyrics. Although similar, lyrics should not be regarded as synonymous to poetry. Seeing that the creation and reception thereof differs from that of other literary forms, I argue that lyrics are lyrics and should be regarded as such in order for it to come to its full right in literary study.

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

This thesis concerns the invention, improvisation, and right to ownership of the punk patent and questions the contention, put by the band’s manager, Malcolm McLaren, and other commentators, that the Sex Pistols and English punk were a Situationist prank. This challenge to what, in the majority of punk literature, has become an ‘accepted truth’ was first raised by McLaren’s nemesis, the band’s lead singer, John Lydon. McLaren and Lydon did agree that the London punk movement took its inspiration from the anarchic and chaotic energies of the eighteenth–century London mob. This common crowd could switch instantly and unpredictably from a passive state to an anarchic, violent and destructive mob, or ‘King Mob’: one that turned all authority on its head in concerted, but undirected, acts of misrule. Through his own improvisation with punk tropes, Lydon came to embody English punk and functioned, on the one hand, as a natural mob leader; and on the other, as a focus for the mob’s anger. I argue that, in following McLaren’s reduction of the Sex Pistols to a Situationistinspired prank, one of the earliest and most influential analyses of the punk phenomenon, Greil Marcus’s Lipstick Traces: A Secret History of the Twentieth Century, misunderstood how fundamental the culture and semiotics of the London mob was to McLaren, Lydon, the Sex Pistols and the performance of London punk. I take seriously, then, the idea that the cultural signifiers the Sex Pistols drew upon to make their punk performances, and which accounted in no small way for their ability to ‘outrage’, were exclusively British and unique to London’s cultural topography and the culture of the London crowd. After the implosion of the Sex Pistols on their 1978 American tour, with Lydon quitting in disgust, McLaren attempted to take ownership of the punk legacy: both actually, through attempting to assert his copyright over the Sex Pistols’ brand; and symbolically through re-writing the Sex Pistols’ story in his 1980 movie The Great Rock ‘n’ Roll Swindle. Curiously, and most notably, the mob is foregrounded in the film through its opening sequence, which draws heavily from the events of the Gordon Riots in 1780. This thesis contests the paradigm put in place by McLaren’s version of events as portrayed in The Great Rock ‘n’ Roll Swindle and reconsiders punk as a cultural object trouve. In particular, I consider literary influences on its protagonists: Graham Greene on John Lydon and Charles Dickens and J. M. Barrie on Malcolm McLaren. / Doctor of Philosophy (PhD)

A combined field and laboratory investigation of the primarily volcanic Roskruge range, Pima County, Arizona, produced the following results: The rocks in the area fall into three major and several minor divisions. The major groups are: (1) The pre-Laramide dark-colored andesites and sediments that floor the range. A K-Ar date on one of the andesites produced a number, 108 m. y. , on a whole rock analysis. (2) The brightly colored and widespread Laramide volcanics and an associated hypabyssal pluton at Cocoraque Butte, which gave K-Ar mineral ages in the 74 m. y. to 66 m. y. spread. (3) The mid-Tertiary potassic basaltic andesites found on an eroded plain that is cut into the Laramide volcanics. These dark-colored extrusives were dated at 23 m. y. by whole rock K-Ar. Amongst the minor units in distribution is the petrographically unusual Recortado ash flow, a small 13 m. ye old unit that preserves a vitrophyre just above its base. Also included in the miscellaneous group of units are the post-orogenic true basalts, which appear as dikes and as a flow(?) at Brawley Wash and which gave whole rock K-Ar dates of about 10 m. y. Initial strontium 87/86 ratios indicate that the Laramide and mid-Tertiary rocks (including the Recortado ash flow) have values ranging from . 7056 to .7092, while the Brawley Wash basalt has a true deep-seated basalt ratio of .7038. The combination of radiochemical assay, petrographic and field study, and isotopic data has established good gross correlation with the already known sequence of formations and plutons in the Tucson Mountains.

Thesis (Ph.D.) -- University of Western Sydney, 2008. / A thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliography.