Master of Arts (MA), Ohio University, 2022, Sociology (Arts and Sciences)

In building from the #MeToo movement, this thesis aims to understand textual, online allegations made publicly by survivors of gendered violence within the specific scene of alternative music. The purpose of this research is to explore themes within these online posts, as well as responses made by alleged perpetrators who are alternative musicians. This research answers questions concerning how survivors and alleged perpetrators construct their narratives of gendered violence, as well as how gender hierarchies are invoked within these accounts. This study uses a qualitative thematic content analysis. Findings suggest that alleged perpetrators construct their responses by using techniques of neutralization and participate in some degree of denial of allegations. On the other hand, survivors construct their allegations through explicit and implicit discussions of consent--specifically about age and use of alcohol or drugs. Lastly, survivors build a community of solidarity through their allegations. These findings indicate how abuse continues to take place within progressive spaces such as alternative music, as well as the importance of survivors' voices in communicating that harm.

Committee: Holly Ningard (Committee Chair); Rachel Terman (Committee Member); Cynthia Anderson (Committee Member) Subjects: Gender Studies; Sociology; Womens Studies

Doctor of Philosophy (PhD), Ohio University, 2015, Interdisciplinary Arts (Fine Arts)

This dissertation engages the state of rock music in Western popular culture over the past twenty years. Taking inspiration from the philosophy of Theodor W. Adorno, the project utilizes the concepts of progress and restoration to describe how musicians, scholars, and journalists have confronted challenges facing the continued practice of rock music into the twenty-first century. I argue that the tension between this progressive impulse in rock and a restorative response provides an explanation for aspects of rock's recent history and its creative challenges. Via interpretations of musical texts, references to artistic statements, and engagement with aesthetic theory, the chapters reveal how these concepts have been navigated in the evolving state of rock, including responding to anxieties such as the “death of rock.” Emphasis includes advocacy for a renewed focus in academic scholarship on rock as a musical phenomenon. This approach asserts that stylistic and formal development are integral to thinking about the music's social history and cultural impact. As a critical study of the recent history of aesthetic ideas, I argue that progress and restoration influence rock culture, and that diagnosing their function within the genre is vital for understanding rock's history and trajectory.

Committee: Vladimir Marchenkov (Committee Chair); William Condee (Committee Member); Judith Grant (Committee Member); Garrett Field (Committee Member) Subjects: Aesthetics; Music; Philosophy

Master of Arts (MA), Bowling Green State University, 2008, American Culture Studies/Popular Culture

Icelandic pop star Bjork has spent her career breaking down boundaries, blurring lines, and complicating binaries between perceived opposites. Examining a variety of both primary and secondary sources, this study looks at the ways that Bjork challenges the binary constructions of "high" and "low" art, nature and technology, and feminism and traditional femininity, and also proposes that her uniquely postmodern approach to blurring boundaries can be a model for a better society in general. This study contends that Bjork serves as a symbol of what might be possible if humans stopped constructing boundaries between everything from musical styles to national borders, and as a model for how people can focus on their commonalities while still respecting the freedom of individual expression. This is particularly important in the United States of America, a place where despite its infinite potential for cultural pluralism and collaboration, there are as many (or more) divisions between people based upon race, class, gender, and religion as anywhere else in the world.

Committee: Kimberly Coates PhD (Committee Chair); Robert Sloane (Committee Member) Subjects: American Studies; Mass Media; Music; Technology; Womens Studies

DNP, Kent State University, 2019, College of Nursing

Abstract Background and Review of literature: Arts-based interventions have been studied in the cancer care setting and shown to have positive effects on pain, anxiety, depression, and various quality of life indicators. Participants of group art-based experiences often experience a deep sense of connectedness to one another, and self-awareness. Purpose: This project was designed to elicit the perceptions of the adult cancer survivor who engaged in a multi-modal expressive arts intervention in a community cancer support group setting. Methods: This project used quantitative and qualitative approach, purposive sampling from existing adult cancer survivor community support groups. Theoretical concepts from Natalie Roger's Creative Connection® informed the overall design, implementation and evaluation of the project. Quantitative and qualitative data were collected using the Expressive Arts for Cancer Survivor data collection tool consisting of a post-intervention 12-item Likert Scale survey and 7 open-ended questions developed for this research. Implementation Plan/Procedure: An expressive arts intervention consisting of drawing and painting or clay work was implemented at the Breast Cancer, Blood Cancers, and Head and Neck Cancer community support groups. Group participants were invited to explore other modalities such as expressive writing, sound, movement and group dialogue to enhance the expressive art experience. Implications/Conclusion: Expressive arts during the cancer support group setting fostered creativity, insight, and self-awareness; helping survivors learn more about their feelings. Participants experienced a deeper sense of connectedness and appreciation for others within the group. The opportunity for sharing was positively received; the arts provided a means of self-expression. Participants expressed a strong desire to discuss the use of expressive arts with their healthcare provider. Findings signal the importance of developing evidence based (open full item for complete abstract)

Committee: Pamela Stephenson (Committee Chair); Patricia Vermeersch (Committee Member); Tracey Motter (Committee Member) Subjects: Alternative Medicine; Arts Management; Dance; Health Care; Mental Health; Music; Nursing; Oncology; Psychology

Master of Music, University of Akron, 2014, Music-History and Literature

ABSTRACT Further elucidation of Northeast Ohios musical endeavors are necessary to expand upon the fact that its equally as vital as other metropolitan centers with fertile underground music scenes such as New York City and London from the mid-1960s through the mid-1970s. Although both of those cities contained many prototypical punks and artists, Cleveland and Northeast Ohio shared rare, sheltered yet sophisticated, artistically supported and substantially influential musical underpinnings. And although there really wasnt what one might call a scene as in a substantial supportive alternative music community, there were many notable and important personalities that emerged and continue to this day to be important countercultural figures. When speaking of the lack of proper elucidation of the Northeast Ohio scene, it is necessary to look to the fact that there are only a handful of well-written books on the Punk and counterculture movements that ever really gave Cleveland and Northeast Ohio its cultural due. Notably these books have come to light in the past 25 years or so: Please Kill Me by Legs McNeil, and From The Velvets To The Voidoids and Babylons Burning, both by Clinton Heylin. Only these three books and a handful of others can stand as a testament to what has been written about the early Cleveland and Northeast Ohio musical environment. Cleveland and Northeast Ohio have had written exposure in a variety of books, magazines and fanzines homemade printed copy booklets Xeroxed in limited runs by fans; however, an investigation of the facts and people who participated in the early scene is in need of being further illuminated. Fully researching the subject, examining many countless books, articles, websites, magazines and other ephemera, it is apparent that Cleveland and Northeast Ohio has been neglected when academically speaking about its historical music.

Committee: Brooks Toliver Dr. (Advisor); Michele Mills Dr. (Advisor) Subjects: History; Modern History; Music; Music Education; Performing Arts; Regional Studies

MA, University of Cincinnati, 2012, Arts and Sciences: Communication

Sexuality and popular media has been studied for decades by Communication scholars due to popular media's influence on sex and gender norms that it creates and reifies. This paper, on the other hand, studies the implications of sexuality and alternative media, particularly alternative music mediating messages of alternative sexuality. Through the use of close textual analysis, informed by feminist and queer theory as well as the male gaze, this paper discusses the alternative artists the Yeah Yeah Yeahs and Devendra Banhart. In analyzing their lyrics, images, and videos, many themes arise that subvert gender and sex norms that are typical of popular media and music. The Yeah Yeah Yeahs' Karen O portrays a great deal of female sexual dominance and references to sadomasochism, which aligns the woman in power rather than the man, a blatant subversion of typical sex norms. Devendra Banhart subverts these norms as well by mixing traditionally feminine qualities and attributes with his heterosexuality. In doing this, he challenges the norm that being male is inherently tied to masculinity, power, and being emotionless.

Committee: Eric Jenkins PhD (Committee Chair); Nancy Jennings PhD (Committee Member); Heather Zoller PhD (Committee Member) Subjects: Gender Studies; Music