The marketing and distribution of pre-recorded music for sale and public consumption is a cultural development as profound as any in the twentieth-century musical world. It is especially relevant to late-1950s American rock and roll, in terms of the music's capture in the rapidly-evolving environment of the recording studio, its release into the marketplace via independent record labels, and its enthusiastic embrace by the burgeoning youth culture of the era. Within this multi-dimensional context, Zoom Records, a tiny, independent record label, was born in Tucson, Arizona. A unique convergence of technological, artistic, and commercial developments and historical events gives special import to the Zoom Records story, as a lesson in entrepreneurship, artistic expression and personal transformation.

Do you know that feeling? That feeling when the music you are listening to a concert or a new record and it just seems right? When you think, that’s it! That’s what music should sound like! When the music seems to touch your soul or mirror it, or…. something. And when you feel that, nothing else seems to exist and you are purely experiencing the music. My thesis work explores the way in which we try to capture this ephemeral moment of pure experience in order to keep it with us to revisit at our leisure. This, however, is a futile endeavor. No matter how many photos you take, records you collect, or days of music on your iPod, that initial feeling, that visceral experience, cannot be replicated. In this work I use both materials that evoke this idea of the ephemeral (transparent plastic and glass) and materials are ephemeral themselves (water and wax) to convey the inability to capture music and the feelings it evokes in us. I have also chosen to add elements to the space, such as a wooden floor, stage lights, and fabric panels, to suggest a performance stage or sound studio and to further this connection to the music which the work was inspired by.

My study seeks to fill a void in Cold War historiography by situating the emergence of 1950s youth culture in the context of containment culture, evaluating the form and extent of youth's cultural 'rebellion'. The pervasive cultural discourse of 'containment', which operated as both a foreign policy to restrict the Soviet Union's sphere of influence and a domestic policy to stifle political dissent, mandated that America propagate an image of social harmony and political plurality during the early years of the Cold War. Yet the emergence of a rebellious youth culture in the middle of the 1950s challenges the notion that America was a 'consensus society' and exposes the limitations and fissures of the white middle class hegemony that the containment narrative worked to legitimate. In examining the rise of rock n roll, the emergence of the drive-in theatre as a "teen space," and the significance of "style" to the galvanization of 1950s youth culture, this study examines the ways in which youth culture of the period variously negotiated, resisted, and accommodated containment culture.

The music history that is generally presented to students in Queensland secondary schools as the history of music is underpinned by traditions associated with the social and cultural elite of colonialist Europe. On the other hand, contemporary popular music is the style with which most in this community identify and its mass consumption by teenagers in Brisbane was heralded with the arrival of rock 'n' roll in the mid-1950s. This project proposes that the involvement of the music education system in, and the application of digital technology to, the collection and storage of musical memories and memorabilia with historical potential is an important first step on the journey to a music history that is built on the democratic principles of twenty-first century, culturally and socially diverse Australia rather than on the autocratic principles of colonialist Europe. In taking a first step, this project focused on collecting memories and memorabilia from people who were involved in an aspect of the coming of rock 'n' roll to Brisbane. Memories were collected in the form of recorded conversations and these recordings, along with other audio and visual material were transferred to digital format for distribution. As an oral history focusing its attention on those who were involved with the coming of rock 'n' roll to Brisbane in the mid to late 1950s and the early 1960s, this project is intended as a starting point for that journey. Even as a starting point however, some interesting findings emerged. For example: * Early Brisbane rock 'n' roll was a suburban affair. * Dancers were just as important in bringing rock 'n' roll to Brisbane as were the musicians. * Musicians not only had to learn new music on new instruments, they had to, in many cases, make their own instruments. * The rock 'n' roll story as promoted by the newspapers of the day was very different to how it is remembered by the participants. * Community institutions such as family, school and church played a vital support role in the lives of young rock 'n' roll musicians. * Brisbane's rock 'n' roll musicians generally reflected the conservative nature of their community. * Brisbane's very early rock 'n' roll musicians were strongly influenced by country and western music. * Once the commercial viability of rock 'n' roll became evident, it became more accepted as an entertainment format. Of the many thousands of people who lived in Brisbane during the 1950s and who had an interest in or were affected by the coming of rock 'n' roll, only a very small percentage were involved in this project. This would indicate that there is a significant body of untold memories and stories waiting to respond to the interest of Queensland music students.

Space as a expression.

Space as a expression.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-03-09T14:12:19Z No. of bitstreams: 1 giselecristinaluiz.pdf: 6708975 bytes, checksum: c02ae94c853d8b75123e23a5512b0e5c (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-03-10T13:17:40Z (GMT) No. of bitstreams: 1 giselecristinaluiz.pdf: 6708975 bytes, checksum: c02ae94c853d8b75123e23a5512b0e5c (MD5) / Made available in DSpace on 2017-03-10T13:17:40Z (GMT). No. of bitstreams: 1 giselecristinaluiz.pdf: 6708975 bytes, checksum: c02ae94c853d8b75123e23a5512b0e5c (MD5) Previous issue date: 2016-09-16 / Esta dissertação busca uma reflexão sobre as preferências estilísticas juvenis de um grupo específico de jovens, o público de rock n’ roll. Aqui iremos dar destaque ao grupo público de heavy metal em Juiz de Fora/MG que viveu sua juventude nas décadas de 1980 e 1990. Inicialmente busca-se analisar o surgimento de uma cultura juvenil e o desenvolvimento de subculturas dando destaque para o surgimento do rock n’ roll através de uma pesquisa bibliográfica. Foi realizada uma análise dos movimentos de contracultura relacionados ao estilo musical e a sua segmentação a partir da década de 1970 que irá dar origem ao estilo musical heavy metal. Posteriormente foi realizado um panorama geral do desenvolvimento do estilo, procurando analisar as questões que permeiam o grupo de fãs do mesmo, denominados headbangers, buscando averiguar como se deu o desenvolvimento do estilo musical no Brasil e como foi o desenvolvimento da cena. Procuramos ainda situar às relações existentes entre a moda, o comportamento e a música de estilo heavy metal, e a partir disso, pesquisar a interlocução presente entre a música e o estilo de vida desses jovens. Por fim, foram realizadas entrevistas com pessoas público de heavy metal que desde as décadas de 1980 e 1990 a fim de analisar como se deu o desenvolvimento do mesmo em Juiz de Fora/MG, pesquisando como tiveram acesso ao estilo, quais foram as bandas precursoras, onde e como eram os lugares frequentados pelos headbangers, como ocorria a divulgação do heavy metal, como os headbangers se relacionavam com o estilo musical na cidade em termos de comportamento, moda e estilo de vida e sobre o legado da cena metal em Juiz de Fora/MG. / This dissertation seeks a reflection on youth stylistic preferences of a specific group of young people, the rock public n 'roll. Here we will highlight the public group of heavy metal in Juiz de Fora/MG who lived his youth in the 1980s and 1990s initially seeks to analyze the emergence of youth culture and the development of subcultures highlighting for the emergence of rock n 'roll through a literature search. an analysis of the counterculture movements related to musical style and its segmentation from 1970 that will give rise to heavy metal musical style was held. It was later performed an overview of the development of style, trying to analyze the issues that permeate the group of fans even called headbangers, seeking to find out how was the development of the musical style in Brazil, as was the development of the scene. We also seek to situate the relationship between fashion, behavior and heavy metal style of music, and from that, search the dialogue between this music and the lifestyle of young people. Finally, interviews were conducted with public people of heavy metal from the 1980s and 1990s in order to analyze how was its development in Juiz de Fora/MG, researching how to have access to the style, which were the forerunners bands where and how were the places frequented by headbangers, as was the release of heavy metal, such as headbangers were related to the musical style in the city in terms of behavior, fashion and lifestyle and the legacy of the metal scene in Judge Fora/MG.

The purpose of this study is to explore the role of the documentary film in the relationship between the artist and the fan; specifically how Bob Dylan fans use the documentary films Dont Look Back, directed by D.A. Pennebaker, and No Direction Home, directed by Martin Scorsese. Dylan, Pennebaker, and Scorsese are three important figures in American popular culture, and these are the two most prominent films about Dylan. These films discuss relatively the same time period, yet delineate two different versions of Dylan's identity. Dont Look Back, released in 1967, documents Dylan's 1965 tour of England. Because of Pennebaker's rhetorical placement and treatment of particular scenes, Dylan often comes across as mean and spiteful, lashing out at reporters and those around him. Scorsese's 2005 film combines archival footage with contemporary interviews to create a different picture of Dylan--- a picture of an artist who was mistreated and misinterpreted by the folk community, his fans, and the press. By conducting interviews with passionate Dylan fans, I concluded that these films demonstrate the rhetorical presentation of identity. Fans use the images found in these films to construct their identity of Dylan. The documentary film is unable to fully capture one's identity, but, as these films show, can only rhetorically construct the celebrity persona.

Zugl.: Jena, Univ., Diss., 2008

High school general music classes often primarily consist of lectures about the Western art canon, despite repeated calls for a popular music focus (Deal, 1984; Miceli, 1998; Snell, 2007; Thompson, 1979; Woody, 2007). It is argued that the latter approach can alleviate student apathy toward class content and boredom, provide more meaningful learning experiences for the students, and create a more positive experience for the teacher. The purpose of this study is to examine the experiences of students and teachers in both a traditional general music class and a popular music-focused general music class. In this qualitative comparative study, I studied two high school general music classes in Tennessee and investigated the experiences of the students and teachers with respect to subject matter, teaching techniques, and meaningful learning. My data sources were interviews with teachers and students, classroom observations, and classroom archival documents. I analyzed the data using interpretive coding guided by a constant comparative approach. Cross-case emergent themes involving meaningful learning included students' preference for music studied at the end of the semester and a high level of student-teacher interaction and engagement when studying popular styles of music. Regarding curricula and teaching methods, cross-case themes showed similar attitudes and frustrations for teachers and students in both classes. Within-case themes in the Music for Listeners class included an expressed student desire to learn popular music, student lack of understanding of the Western art canon, and student ability to connect class topics to outside of school activities. Within-case themes in the Development of Rock 'n' Roll class illustrated the importance of delivery style and technology in the general music classroom. I concluded that a combination of curriculum and teaching style produced differing experiences for the students and teachers. Based on the results of this study, suggestions for education profession include employing a genre of music that is meaningful to the students in their daily lives; engaging students in conversations about the music they enjoy; avoiding "busy work" and ensuring that assignments are relevant; and providing ample music listening opportunities.