This project seeks to determine the extent to which rock music brought an end to the Hollywood film genre of the musical. It stresses the importance of rock and post-1960s popular music scholarship to film studies and vice-versa. Both objects of popular music inquiry remain relatively unexamined within film studies. But while the value of film studies to popular music scholarship has been much more widely acknowledged, much more work remains in these areas. Therefore, this project will look at the workings of rock ideology and how it impacted the development of the Hollywood musical. It will also examine recording technology and the ways in which it transformed both the film and music industries. The second half of this project is an extended analysis of how Hollywood films of the post-rock era (1970 onward) have reflected these changes. It theorizes that it was not so much the musical that “died” in this era as it was a particular kind of musical number – the Spontaneous Outburst of Song. The later chapters use the concept of mode as opposed to genre to examine how the pleasures offered by the musical of the classical Hollywood era remain available albeit in different guises and genres. Furthermore, these pleasures are capable of fostering the kinds of communities, if not utopias, that some scholars claim have died along with the classical Hollywood era. / text

The purpose of this study is to give an insight in how music press is presented gender wise. The focus area lies in rock music and the study is made on British music magazine MOJO in the year of 2010. The study contains quantitative analyses showing how much room men are given compared to women. The study is also supplemented with image analyses of four covers spread out over the year. The main question is formulated as in, how much room do women get in music magazine MOJO 2010 and what output does this have on rock music’s gender characteristics? The main results show, amongst other things that 79% of all the articles are written with focus on one or more male musicians. 9% were written about both men and women and 12% of the articles were written about women alone. The writers are also dominated by men and the study shows that 84% of the 510 articles were written by men. MOJO is a male-dominated magazine where men write about men, and the first sight of the magazine says the same thing. None of the twelve issues during 2010 have a female artist on the cover. They show without any exceptions the upper body of white men in their middle age. In the content analyses we have also been counting matters as how much space each article is given and in which substance the article is written about. This shows that men are more often written about with their profession as main purpose while women are written about with focus on their privacy. Men are musicians and women are women. The result also shows that articles written about men get more space when it comes to number of characters than articles written about women.

Both the counterculture and its music will be examined using the concepts of heteronomy, autonomy, and theonomy and their dialectical relationship according to Paul Tillich's theory of religion and culture. The main themes beneath the emergence of the counterculture will be outlined, and the ways in which the dominant culture of the time may be considered what Tillich describes as a heteronomous phenomenon will be presented. The historical significance of the counterculture will then be demonstrated in terms of Tillich's concept of kairos. Through examination of the lyrics of some of the most popular songs between 1965 and 1970, the years during which the movement was at its height, the ways in which the counterculture may be seen as autonomous protest will be discussed. This will be followed by an examination of theonomous elements apparent in the song lyrics and an evaluation of the movement in terms of the Tillichian dialectic.

This thesis argues that in North America since the late 1980s, young women's interest in feminism has been expressed through participation in feminist music subcultures. The project provides an overview of the studies of culture, musical subculture, and gender and music making, as well as an historical context of feminism and a discussion of the relationship between second and third wave feminism. / The first case study explores Riot Grrrl's roots in the DIY activism of DC hardcore punk, its links to the female-oriented indie music scene of Olympia, Washington, and the subculture's use of alternative media. The second study examines efforts to integrate queer politics into third wave feminism through lesbian punk rock music subculture. The final study of electronic feminist punk rock examines how young feminists use alternative media such as zines, internet message boards, web sites, music making, and performance to educate young women about sexual abuse and homophobia. / Analysis of the Riot Grrrl, lesbian punk rock, and electronic feminist punk rock subcultures demonstrates how young women claim spaces for their own feminist politics, even if they have gone relatively undetected by the mainstream culture.

Alternative music was a cultural practice, which became a significant feature of New Zealand's local and national history over the last two decades of the twentieth century. Features of technology, economics and music culture influenced the creation and course of local independent music scenes, along with factors such as cultural remoteness. This thesis isolates and collates key factors and time periods of international music industry history, and refracts the information through alternative music in general, providing a coherent definition of the term. The history and definitions of New Zealand's alternative music history are then assessed for the period 1981-2001, with especial reference to the Flying Nun label and 'Dunedin Sound'.

In order to analyze the relationship of punk to anarchy, this thesis will investigate the discursive function of "anarchy" both in contemporaneous accounts of punk and in subsequent histories. Beginning with the genesis of British punk and the first references to anarchy in different media during the late 1970s, subsequent chapters focus on the seminally influential anarcho-punk band Crass in order to discern their impact on the evolution of the anarcho-punk genre and its relationship to anarchism up through the mid-1980s. Several other anarcho-punk bands will also be considered for their contributions to this genre. In addition to providing an in-depth study of anarcho-punk, which has been largely ignored by scholars, the present work seeks to enhance understanding of the role of anarchy in punk discourse and hopes to offer a starting point for analysing recent developments in other politicised subcultures.

Thesis (M.A.)--Carleton University, 2004. / Includes bibliographical references (p. 130-132). Also available in electronic format on the Internet.

Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 192-204). Also available in electronic format on the Internet.

Thesis (M.A.)--Western Washington University, 2008. / Includes bibliographical references (leaves 67-70). Also available in electronic format.

Thesis (M.A.)--Memorial University of Newfoundland, 2002. / Bibliography: leaves 149-150.