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This thesis deals with the thematic definition of subgenres of punk music and their comparison. Theoretical part consists of the definition of the concept of culture and several other selected terms. A subculture will be defined as a theoretical unit, which is followed by a historical basis for the punk subculture itself. In addition, the theoretical part deals with the relationship of punk music to left-wing extremism and outlines the beginnings of punk music in Czechoslovakia and the Czech Republic. The practical part is based on interviews with interpreters, of which three selected interviews are presented. The thesis also defines the subgenres themselves and defines their thematic content. These subgenres are then compared at their thematic level and the themes common to all sub-genres are defined.

This dissertation examines the role progressive college radio played as a site of political engagement for youth in the United States in the 1980s, particularly in its connection to punk culture. Progressive college radio is defined here as a particular type of noncommercial radio broadcast from university radio stations. It inherited from educational radio a commitment to democratic communication and from community radio a commitment to localism and representing underrepresented communities. Progressive college radio continued these missions, but also applied them to music, playing music considered unmarketable by the commercial music industry and thereby representing underrepresented musicians. College radio is popularly remembered as the radio format that helped create commercial alternative rock in the 1980s. This narrative effaces the way the most progressive college stations programmed music hostile to the music industry, especially punk and its related genres, and the way that progressive DJs often felt uncomfortable being part of a farm system for the music industry, something this dissertation investigates. Through discourse analysis of archival materials from four progressive college radio stations, as well as interviews with former DJs, this dissertation reveals how station personnel understood the role of progressive college radio in relation to the music industry, punk culture, the dominant culture of the US in the 1980s, and in their own lives. By investigating how the DJs conceptualized and debated their programming and production practices, this project illustrates how progressive college radio responded to increasing music industry scrutiny and a conservative culture’s increasingly hostile and narrow conceptions of youth. This dissertation also charts the ways progressive college radio DJs mobilized punk’s do-it-yourself (DIY) mode of cultural production, amateur aesthetics, and anti-authoritarianism, to create both a physical and sonic space for self-representation and creative expression. / text

A look into song identity and the building blocks of music through a process of analysing five different punk songs and then repackaging them into a modern pop production. After completing these new versions, I compared them to their original recordings and discovered that there are more similarities between the two genres than one might initially think, and that each song’s identity was preserved on slightly different levels and in different forms. I discuss my analyses and process in terms of both music theory and non-musical descriptions, leading to generally positive results. Each song was recognizable, but I discovered that some identities were stronger than others because of factors such as original arrangement, era of release or differences in experience from person to person.

No description available.

This video is a visual representation of the frustrations that I suffered from when I, a queer, gender non-conforming, person of color, went to “pasty normals” (a term defined by Jose Esteban Munoz to describe normative, non-exotic individuals) to get a definition of what Punk meant and where I fit into it. In this video, I personify the Punk music movement. Through my actions, I depart from the grainy, low-quality, amateur aesthetics of the Punk film and music genres and create a new world where the Queer Person of Color defines Punk. In the piece, Punk definitively says, “Don’t try to define me. Shut up and leave me to rest.”

This thesis is an ethnomusicological cross-cultural examination of Heavy Metal, Hardcore Punk and Metalcore music-cultures and how the transculturation of two distinct music-cultures, Heavy Metal and Hardcore Punk, have resulted in a third unique music-culture: Metalcore. Attention is given to the evolution of the music-cultures through history, with mention of current trends not covered in any other literature. In addition explanations of key tenets of culture-ways and their importance in forming these cultures as separate and distinct will be included. Topics addressed will include headbanging, the sign of the horns and moshing in Heavy Metal; slam-dancing, Straight Edge, and the do-it-yourself principles of Hardcore Punk; the commercial commoditization and establishment of Metalcore as separate and unique from both Heavy Metal and Hardcore Punk. In addition, a brief assessment of material culture will be included, covering the importance of musical instruments, art, and fashion. Fashion is especially important in forming ties with respective communities, personal interest groups, and establishing personal identity within the music-cultures. Both secondary source, as well as qualitative research will be used. While much of the history and culture-ways of Heavy Metal and Hardcore Punk have been well documented throughout the 1970s there is a lack of literature concerning either culture since the 1990s and 2000s. With the exception of only a few sources, there is little material addressing Metalcore, or Crossover Thrash music-culture. As a participant within Heavy Metal culture I will offer my own personal observations, as well as those of informants, to extend and support the documentary research findings.

Made available in DSpace on 2016-04-25T20:22:17Z (GMT). No. of bitstreams: 1 Jefferson Alves de Barcellos.pdf: 10947803 bytes, checksum: 8d6bc7f78b1e77886390d9d5f1b68546 (MD5) Previous issue date: 2008-05-26 / The Social Sciences dedicate attention on studying the youth as a new bias on the construction of identities (Hall, 1999) in different formats and as a continuous process that occurs at a daily manner. The present work tends to understand and punctuate specific points on the modification of musical genders on a historical and bibliographic way, with a profound study of the new musicality and its insertion on the youth universe. The first musical chords of the American black music were considered, such as its influences, at a first moment identifying the artists that dedicated their work to this new musical possibility and at a second moment, to the new visual possibilities that were presented during the route of this change. The present work takes on a photographic bias to identify and punctuate the different musical style modifications, following, at a first glance, the changes at the North American scenario and secondly, on the English ground. On this second moment, this dissertation points out the changes occurred on musical aspects and through the analyses of images and photography of the 60´s, showing later that at a punctual way these changes occurred simultaneously at the USA and England, culminating on the consolidation of a new musical and visual style, which was called the Punk Culture. Considering the music and photography as a basis for a permanent dialogue, an ethnographic research was conducted at the city of Ribeirão Preto, considering the musical scenario at the 90´s and the actuation of the present researcher on the punk music movement of the city. This work of investigation and identification also traces a comparison with the present day and identifies a visual and musical scenario with the influence of the punk movement on the city at the present day (2007) / As Ciências Sociais dedicam-se cada dia mais com o estudo da juventude como um novo viés para a construção de identidades (HALL, 1999). Essas identificações têm vários formatos e acontecem de maneira cotidiana das maneiras mais distintas. Esse trabalho visa, através de um mapeamento histórico e bibliográfico, entender e pontuar alguns pontos específicos de mudanças de gêneros musicais. Para tanto, se valeu de um estudo profundo de novas musicalidades e sua profunda inserção no universo juvenil. Partindo do levantamento dos primeiros acordes musicais, que fizeram da música negra americana, no início do século vinte, o começo para o grande destaque que o rock têm nos dias atuais, incluindo suas maneiras e influências, chegou-se ao punk moderno, representante direto da rebeldia juvenil. Num primeiro momento, a dissertação preocupo-se em identificar os artistas que se dedicavam a essa nova possibilidade sonora; posteriormente, verificou-se as novas possibilidades visuais que se apresentam na trajetória dessa mudança. O trabalho aproveita de um viés fotográfico para identificar e pontuar as mudanças de fase, percorrendo das mudanças sociais em solo norte-americano, para o surgimento de um novo modo de fazer música em terras Inglesas. Neste segundo momento, essa dissertação aponta as mudanças ocorridas nos aspectos musicais, colocados através das músicas e de análises fotográficas na década de 1960, já simultaneamente nos Estados Unidos e Inglaterra para, depois, de maneira pontual, identificar e pontuar a consolidação de uma cena musical comum e emergente nos dois países. É o que veio a consolidar-se como estética Punk, contemplando música e visual. Tendo o trabalho todo como base a música e a fotografia, criando com isso um diálogo permanente, foi realizada uma pesquisa etnográfica na cidade de Ribeirão Preto, tendo como base os anos 1990 e a atuação do pesquisador no movimento Punk da cidade. O trabalho de investigação e identificação traça uma comparação com os dias atuais, identificando também uma cena visual e musical com influências da música e do visual Punk na cidade nos dias atuais (2007) encerrando, com isso, a análise desse trabalho

Made available in DSpace on 2016-04-26T14:57:05Z (GMT). No. of bitstreams: 1 Jefferson Alves de Barcellos.pdf: 10947803 bytes, checksum: 8d6bc7f78b1e77886390d9d5f1b68546 (MD5) Previous issue date: 2008-05-26 / The Social Sciences dedicate attention on studying the youth as a new bias on the construction of identities (Hall, 1999) in different formats and as a continuous process that occurs at a daily manner. The present work tends to understand and punctuate specific points on the modification of musical genders on a historical and bibliographic way, with a profound study of the new musicality and its insertion on the youth universe. The first musical chords of the American black music were considered, such as its influences, at a first moment identifying the artists that dedicated their work to this new musical possibility and at a second moment, to the new visual possibilities that were presented during the route of this change. The present work takes on a photographic bias to identify and punctuate the different musical style modifications, following, at a first glance, the changes at the North American scenario and secondly, on the English ground. On this second moment, this dissertation points out the changes occurred on musical aspects and through the analyses of images and photography of the 60´s, showing later that at a punctual way these changes occurred simultaneously at the USA and England, culminating on the consolidation of a new musical and visual style, which was called the Punk Culture. Considering the music and photography as a basis for a permanent dialogue, an ethnographic research was conducted at the city of Ribeirão Preto, considering the musical scenario at the 90´s and the actuation of the present researcher on the punk music movement of the city. This work of investigation and identification also traces a comparison with the present day and identifies a visual and musical scenario with the influence of the punk movement on the city at the present day (2007) / As Ciências Sociais dedicam-se cada dia mais com o estudo da juventude como um novo viés para a construção de identidades (HALL, 1999). Essas identificações têm vários formatos e acontecem de maneira cotidiana das maneiras mais distintas. Esse trabalho visa, através de um mapeamento histórico e bibliográfico, entender e pontuar alguns pontos específicos de mudanças de gêneros musicais. Para tanto, se valeu de um estudo profundo de novas musicalidades e sua profunda inserção no universo juvenil. Partindo do levantamento dos primeiros acordes musicais, que fizeram da música negra americana, no início do século vinte, o começo para o grande destaque que o rock têm nos dias atuais, incluindo suas maneiras e influências, chegou-se ao punk moderno, representante direto da rebeldia juvenil. Num primeiro momento, a dissertação preocupo-se em identificar os artistas que se dedicavam a essa nova possibilidade sonora; posteriormente, verificou-se as novas possibilidades visuais que se apresentam na trajetória dessa mudança. O trabalho aproveita de um viés fotográfico para identificar e pontuar as mudanças de fase, percorrendo das mudanças sociais em solo norte-americano, para o surgimento de um novo modo de fazer música em terras Inglesas. Neste segundo momento, essa dissertação aponta as mudanças ocorridas nos aspectos musicais, colocados através das músicas e de análises fotográficas na década de 1960, já simultaneamente nos Estados Unidos e Inglaterra para, depois, de maneira pontual, identificar e pontuar a consolidação de uma cena musical comum e emergente nos dois países. É o que veio a consolidar-se como estética Punk, contemplando música e visual. Tendo o trabalho todo como base a música e a fotografia, criando com isso um diálogo permanente, foi realizada uma pesquisa etnográfica na cidade de Ribeirão Preto, tendo como base os anos 1990 e a atuação do pesquisador no movimento Punk da cidade. O trabalho de investigação e identificação traça uma comparação com os dias atuais, identificando também uma cena visual e musical com influências da música e do visual Punk na cidade nos dias atuais (2007) encerrando, com isso, a análise desse trabalho

Introduction: Addictive substances among musicians is a common occurrence. However, this phenomenon is mostly described only by the musicians themselves in their autobiographies. There is little professional work to address this phenomenon. There are many factors that affect musicians and lead them to use addictive substances. Even though this phenomenon is so widespread, it is taken for granted and few pay attention to it. Aim: Aim of thesis is to identify and describe patterns of substance use in active musicians in music groups that are based in the Benešov region, but play outside this area too. Methodology Data were collected in the form of a semi-structured interview. A list of music groups was created using the bandzone website. These groups were then found on Facebook to find out their activity. They were also subsequently approached here. 9 researched musicians took part in the research. Responses from the interviews were recorded directly by hand. Overwrite was performed while data was being written. Subsequently, the data were analyzed by elements of grounded theory. Using open coding, the codes were assigned to important topics in the text. These topics were grouped using axial coding. Using these categories, patterns of substance use among active musicians in music groups based in the...