Hardcore punk is a musical culture created by a minority of American youth at the turn of the 1980s. Like its predecessor, 1970s punk rock, it was driven by a diy (Do-it-yourself) attitude, as were its various musical practices such as composition, recording, production, concerts and their promotion, as well as the publication of fanzines and the fabrication of clothing and accessories. Thus, although diy was not exclusive to punk, nor was punk the first to adopt it, by the late 1970s, especially in England, DIY had become integral to a broad range of its music production and distribution activities, in contrast to dominant conventions in the music industry. In the United States, it was not until the advent of a more extreme form of punk culture, marked by the term “hardcore,” that diy became a core ethical principle. The hardcore punk scene then became the foundation of the American indie (“underground”) music scene that flourished throughout the 1980s before entering the mainstream with the rise of grunge and alternative rock in the early 1990s.

Des centaines d’articles, de livres, de sites Internet, de documentaires et d’œuvres de fiction, principalement l’œuvre de fans et de chercheur·euse·s indépendant·e·s, ont depuis été consacrés à la promotion souvent ironique, mais parfois sérieuse, de la théorie de la mort de McCartney. La résonance et la persistance du phénomène lui ont aussi valu d’attirer l’attention des universitaires qui, à compter du début des années 1970, en ont tiré des analyses psychosociales, cognitivocomportementales, anthropologiques, historiques et folkloriques, retraçant ses différentes itérations et tentant d’identifier ses effets et ses causes auprès du public.

Au-delà de la bimusicalité initialement promue par l’ethnomusicologue Mantle Hood, le gamelan outremer a donné lieu à des communautés artistiques vivantes affectant profondément la vie de ses agents. Même si le système d’échange facilité par ces communautés est loin d’être égalitaire, les retombées qu’il a sur tant d’individus en valent amplement les défis. Méthodologiquement, Clendinning fait usage de la biographie pour faire ressortir ces points.

This study seeks to show that Claude Debussy continues to exert a presence in contemporary United States composition. It thus can be seen that Debussy already foresaw such a possibility when he wrote in 1908, “I am working on things that will be understood only by our grandchildren in the 20th children” (Forte 1992, p. 471). In the same year, he spoke in an interview of the potential in the u.s. for the embrace of modernist, multi-cultural hearing.