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Lee Ying Chuen. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1999. / Includes bibliographical references (leaves 104-110). / Abstracts in English and Chinese. / Chapter Chapter One --- Introduction --- p.6 / Chapter Chapter Two --- Literature Review --- p.13 / Chapter Chapter Three --- Mapping the Local Sound Scape --- p.29 / Chapter Chapter Four --- Blackbird: A living Song --- p.54 / Chapter Chapter Five --- Freedom of Art as Freedom of Life --Cultural Discourse as Political Activity --- p.80 / Chapter Chapter Six --- Concluding Remarks --- p.95 / Postscript --- p.98 / Appendix --- p.101 / References --- p.104

張武宜. / "2013年9月". / "2013 nian 9 yue". / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 229-239). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Zhang Wuyi.

Fung Chui Bik. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 1-7 (3rd gp.)). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter Chapter One: --- Literature Review --- p.5 / Chapter Chapter Two: --- Methodology --- p.23 / Chapter Chapter Three: --- Historical Background / Chapter 3.1 --- The emerging of Indie music in Hong Kong --- p.26 / Chapter 3.2 --- New wave of DIY --- p.31 / Chapter Chapter Four: --- The Mediations & Active Prosumers --- p.38 / Chapter 4.1 --- The Mediations of Producers-consumers --- p.40 / Chapter 4.2 --- The Mediations of Professional-consumers --- p.52 / Chapter 4.3 --- The Mediations of Media workers --- p.62 / Chapter Chapter Five: --- Different Modes of Indie Prosuming --- p.70 / Chapter 5.1 --- Disciple --- p.73 / Chapter 5.2 --- Practitioner --- p.77 / Chapter 5.3 --- Critical Prosumer --- p.83 / Chapter Chapter Six: --- Conclusion一 A New Indie Culture --- p.86 / References and Bibliography / "Appendix I，II，III, IV"

Sun, Lin. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 233-242). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgements --- p.vi / Introduction --- p.1 / Chinese Youth Today and Japanese Popular Culture --- p.6 / Theoretical Context --- p.11 / Methodology --- p.29 / Structure of the Thesis --- p.48 / Chapter Chapter1 --- Chinese Youth Today: Choice and Constraint --- p.51 / Economic Conditions and the Only Child --- p.54 / Pervasive Japanese Popular Culture in China --- p.59 / Cultivation of National Identity: Mass Media and Schooling --- p.77 / A Proper Chinese Youth: Social Norms in Today's China --- p.89 / Summary --- p.93 / Chapter Chapter2 --- Being a Fan of Japanese Rock: Consumer Choice and Authenticity --- p.96 / Becoming a fan of Japanese Rock --- p.97 / Confirming the Japanese Rock Fan Identity: Being an Authentic Fan --- p.111 / West-Japan-the Rest of Asia: In the Eyes of Chinese Fans of J-Rock --- p.122 / Summary --- p.126 / Chapter Chapter3 --- Localizing Japanese Rock Fandom through Individual Consumption --- p.129 / "Fandom as ""a Private Religion""" --- p.130 / Fandom as Compensation for Lack of Romantic Love --- p.155 / Summary --- p.164 / Chapter Chapter4 --- Fan Community: Consuming Japanese Rock in Groups --- p.167 / Fan Community and Belonging --- p.167 / Hierarchy among Individual Fans: Glory and Pain --- p.178 / Summary --- p.185 / Chapter Chapter5 --- Japanese Rock Fan Identity Vs. National Identity --- p.187 / "The Chinese National Identity and the Japanese ""Soft Power""" --- p.187 / Becoming a Better Chinese through Japanese Rock Fandom --- p.201 / Pan-East Asianism or Cosmopolitanism? --- p.205 / Summary --- p.212 / Conclusion --- p.215 / The Real Appeal of Japanese Rock --- p.215 / Fans and Consumers of Popular Culture in Globalized China --- p.219 / Fandom: a Way of Life for Today's Urban Young Chinese --- p.224 / Appendix --- p.232 / Bibliography --- p.233

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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The success of independent rock music ("indie rock"), once a marginalized sub-genre of the rock idiom and now a globally recognized cultural force, has impacted the urban landscape of Omaha, Nebraska via the mixed-use urban redevelopment project, "Slowdown" - a result of cultural production by the city's successful indie rock business entities. While geographic research has previously analyzed urban redevelopment initiated by fine artists, the event of indie rock music being a catalyst for urban redevelopment has never been considered in a geographic scope. By examining the topics of affordable technological tools, Omaha's reduced cost-of-living, and cooperative efforts by city leaders, insight into how an indie rock "scene" can become a successful urban redevelopment catalyst is gained.

abstract: Double bass drumming is a genre of drum set performance that utilizes a bass drum pedal for both the right and left feet. This allows the feet to function much like the hands, and provides the ability to play faster rhythmic passages on the bass drum that would otherwise be impossible in the classic single-pedal arrangement. The feet are then elevated to new levels of importance, which creates new challenges in four-limb coordination. This double bass drumming tradition has been in use since the mid-20th century, and it has become extremely popular since that time. Today, virtually every drum set retailer offers the double bass pedal as part of their inventory. Many large drum solo competitions, such as the Guitar Center Drum-Off, also include a double bass pedal as part of the provided drum set. However, even with this recent growth in popularity of double bass drumming, there remains a significant lack of scholarly research on the topic. This could be due to the popularity of double bass drumming remaining fairly new, and that the primary implementation of this drumming style remains outside of the art music tradition. This document will help further bring this complex drumming tradition to light by providing an in-depth analysis of the double-bass drumming style through historical overview, explanation of various technical approaches and considerations, and an analysis of common double bass drumming performance practice. / Dissertation/Thesis / Doctoral Dissertation Music 2019