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Journal articles on the topic 'Alternative rock music'
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1
McDonald, Chris. "Exploring modal subversions in alternative music." Popular Music 19, no. 3 (October 2000): 355–63. http://dx.doi.org/10.1017/s0261143000000210.
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IntroductionThe concern of this article is with a particular set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented ‘alternative’ rock, have been using with noticeable frequency in the last ten years. I am also interested in discussing the concept of the power chord (a term I shall explicate more clearly below) as a device in rock that has facilitated the above-mentioned set of harmonic practicesThe observations made in this paper come out of a previous research inquiry of mine into the devices which alternative musicians use to differentiate their music from other styles of mainstream rock. Also, the pursuit of this topic is partly a response to Allan Moore's admonition that ‘there is as yet very little concern for theorizing analytical method in rock music’, and his call for a ‘mapping-out of those harmonic practices that serve to distinguish rock styles . . . from those of common-practice tonality . . . and jazz’ (Moore 1995, p. 185).There has been some rather pointed criticism recently of musicological analyses of popular music (see Shepherd 1993; Frith 1990) on the charge that analysing music's purely sonic dimensions (i.e. melody, harmony, rhythm, structure, etc.) does not really help us understand musical communication. Speaking as a songwriter, however, I would argue that many musicians in rock are indeed concerned with harmonic progression (or ‘the changes’, to use the vernacular term) as an important device or jumping-off point in the process of songwriting. It also seems reasonable to suggest that harmonic progression is a contributing factor in the affective power of a song, although its importance here is likely to be variable and quite open to debate.
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Zhabeva Papazova, Julijana. "Alternative Rock Music in Yugoslavia in the Period Between 1980-1991 and its Influence on the Present Musical and Cultural Life in Macedonia, Serbia and Croatia." IASPM Journal 4, no. 1 (November 17, 2013): 117–19. http://dx.doi.org/10.5429/673.
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Doctoral dissertation "Alternative rock music in Yugoslavia in the period between 1980-1991 and its influence on the present musical and cultural live in Macedonia, Serbia and Croatia" has five main chapters: Introduction; First chapter-Theoretical aspect of the dissertation; Second chapter-Alternative rock, definition, origin, development; Third chapter-Socio-cultural aspect; Fourth chapter-Music analyze; Fifth chapter-The influence of Yugoslav alternative rock into the musical and cultural live at the territories of Macedonia, Serbia and Croatia after 1991; Conclusion; Bibliography; Appendix. The first theoretical chapter present the development of the scientific research based on musical communications, music analyze, recorded music, musical scenes and methodology of work. The second chapter present the definition of alternative rock, ideology of alternative music and short history of alternative rock in the western and non-western world. The third chapter present the historical socio-cultural development of Yugoslav alternative rock throughout chronology of development, the relationship between rock music and society, politics and culture. The fourth chapter is dedicate to the music analyze of five selected Yugoslav alternative rock songs: Samo ponekad (‘Only Sometimes’) by Šarlo akrobata (‘Šarlo acrobat’) from Belgrade; Država (‘The State’) by Laibach from Trbovlje; Gradot e nem (‘The City is Mute’) by Mizar from Skopje; Nočas se Beograd pali (‘Tonight will Belgrade burn’) by Grč (‘Spasm’) from Rijeka and Vagabonds by SCH (an abbreviation for schizophrenia) from Sarajevo. The last chapter present the period after 1991 and defined the influence of Yugoslav alternative rock at the territory of ex-Yugoslavia created through the activities of bands, magazines, festivals and record labels. The influence of the Yugoslavian alternative rock from the eighties to the time after 1991 in Macedonia, Serbia and Croatia is expressed in consumption, production, exchange and network connections between music and cultural organizations, groups, organizers and journalists working in different locations.
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Saphan, LinDa. "From Modern Rock to Postmodern Hard Rock: Cambodian Alternative Music Voices." Ethnic Studies Review 35, no. 1 (January 1, 2012): 23–39. http://dx.doi.org/10.1525/esr.2012.35.1.23.
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Cambodian modernity was driven by the political agenda of the Sihanouk government beginning in the 1950s, and Cambodian rock and roll emerged in the 1960s in step with Sihanouk's ambitious national modernization project. Urban rockers were primarily upper-class male youths. In. the postcolonial era rock and roll was appropriated from abroad and given a unique Cambodian sound, while today's emerging hard rock music borrows foreign sociocultural references along with the music. Postmodern Cambodia and its diaspora have seen the evolution of a more diverse music subculture of alternative voices of hard rock bands and hip-hop artists, as well as post-bourgeois and post-male singers and songwriters.
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Belibou, Alexandra. "Proposal of an Alternative Repertoire for Classical Music Audition Through the Rock Genre." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 49–56. http://dx.doi.org/10.24193/subbmusica.2022.1.04.
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"The subject of this article aims to put in the mirror two fundamentally different musical genres. It is the stylistic difference that seems interesting, so in the following pages, I chose to analyze rock creations that quoted or processed classical music. Rock music, a genre that appeared in the second half of the twentieth century, could not escape the influence of classical music, so, as we will see throughout the paper, there are many rock pieces influenced by classical scores, works that remained in the top of the preferences of rock music listeners. Some of the rock musicians chose to quote classical fragments, others chose to process them, or to be inspired by certain elements of their composition, such as melody, harmony, and rhythm. I believe that this type of comparative analysis is helpful in the case of music education teachers who want to introduce the classical genre in the students' favorite repertoire, through the medium of rock music. Thus, the second objective of this article is to propose an alternative to traditional music auditioning. Keywords: rock, comparative analysis, rock cover, audition. "
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Westrol, Michael S., Susmith Koneru, Norah McIntyre, Andrew T. Caruso, Faizan H. Arshad, and Mark A. Merlin. "Music Genre as a Predictor of Resource Utilization at Outdoor Music Concerts." Prehospital and Disaster Medicine 32, no. 3 (February 20, 2017): 289–96. http://dx.doi.org/10.1017/s1049023x17000085.
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AbstractObjectivesThe aim of this study was to examine the various modern music genres and their effect on the utilization of medical resources with analysis and adjustment for potential confounders.MethodsA retrospective review of patient logs from an open-air, contemporary amphitheater over a period of 10 years was performed. Variables recorded by the medical personnel for each concert included the attendance, description of the weather, and a patient log in which nature and outcome were recorded. The primary outcomes were associations of genres with the medical usage rate (MUR). Secondary outcomes investigated were the association of confounders and the influences on the level of care provided, the transport rate, and the nature of medical complaint.ResultsA total of 2,399,864 concert attendees, of which 4,546 patients presented to venue Emergency Medical Services (EMS) during 403 concerts with an average of 11.4 patients (annual range 7.1-17.4) each concert. Of potential confounders, only the heat index ≥90°F (32.2°C) and whether the event was a festival were significant (P=.027 and .001, respectively). After adjustment, the genres with significantly increased MUR in decreasing order were: alternative rock, hip-hop/rap, modern rock, heavy metal/hard rock, and country music (P<.05). Medical complaints were significantly increased with alternative rock or when the heat index was ≥90°F (32.2°C; P<.001). Traumatic injuries were most significantly increased with alternative rock (P<.001). Alcohol or drug intoxication was significantly more common in hip-hop/rap (P<.001). Transport rates were highest with alcohol/drug intoxicated patients (P<.001), lowest with traumatic injuries (P=.004), and negatively affected by heat index ≥90°F (32.2°C; P=.008), alternative rock (P=.017), and country music (P=.033).ConclusionAlternative rock, hip-hop/rap, modern rock, heavy metal/hard rock, and country music concerts had higher levels of medical resource utilization. High heat indices and music festivals also increase the MUR. This information can assist event planners with preparation and resource utilization. Future research should focus on prospective validation of the regression equation.Westrol MS, KoneruS, McIntyreN, Caruso AT, ArshadFH, MerlinMA. Music genre as a predictor of resource utilization at outdoor music concerts. Prehosp Disaster Med. 2017;32(3):289–296.
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Fikarová, Lucie. "“Euphoria, Anarchy, Sobering Up”: The 1990s in the Memories of Alternative Czech Rock Musicians (and other Members of the Alternative Czech Rock Music Scene)." Wrocławski Rocznik Historii Mówionej 12 (December 22, 2022): 142–62. http://dx.doi.org/10.26774/wrhm.330.
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This article focuses on how the members of the alternative Czech rock music scene experienced the 1990s. It is based on oral history interviews with rock musicians as well as with music club managers, concert promoters, a music manager, and a publicist. The aim of the article is to out line the possible narratives of these actors about the era of the 1990s and map whether these narratives remain the same for the entire decade.
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ATTON, CHRIS. "Writing about listening: alternative discourses in rock journalism." Popular Music 28, no. 1 (January 2009): 53–67. http://dx.doi.org/10.1017/s026114300800158x.
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Abstract‘Alternative’ publications challenge the conventional discourses of rock journalism. In particular, the dominant discourses of authenticity, masculinity and mythology might be countered by publications that emphasise historical and (sub)cultural framing, and that present radicalised ‘spaces of listening’. Using Bourdieu’s field theory to identify autonomous and semi-autonomous sites for rock criticism, the paper compares how a fanzine (the Sound Projector) and what Frith has termed an ideological magazine (the Wire) construct their reviews. The findings suggest that, whilst there is no evidence for an absolute break with the dominant conventions of reviewing, there is a remarkable polyglottism in alternative music reviewing. The paper emphasises differing cultural and social practices in the multiple ways the publications write about music, and argues for the value of such polyglottism.
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Guerra, Paula. "Keep it rocking: The social space of Portuguese alternative rock (1980–2010)." Journal of Sociology 52, no. 4 (July 10, 2016): 615–30. http://dx.doi.org/10.1177/1440783315569557.
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The main goal of our approach is to analyse the social representations of alternative rock in Portugal (or, using a terminology more akin to 1980s Portugal, of the “modern music vanguard”) from 1980 to 2010. This is part of broader research into the 30 years of modernization of the country (from the post-revolutionary period initiated in 1974 on), in which alternative rock is regarded as a significant social practice within the scope of the social, artistic and musical structuring of the country itself. We consider that alternative rock is a subject that is illuminated by Bourdieu’s theory of fields, without overlooking its clear interconnection with ‘art worlds’ or music scenes, and the aesthetic cosmopolitanism of late modernity. The article is a pioneering work on the Portuguese sociology of culture, whose results may be the starting point of a debate to problematize the functional logic of popular music in various Anglo-Saxon settings.
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Nobile, Drew. "Double-Tonic Complexes in Rock Music." Music Theory Spectrum 42, no. 2 (2020): 207–26. http://dx.doi.org/10.1093/mts/mtaa003.
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Abstract Most analysts consider a song either to be in a single key or to exhibit competition or ambiguity among multiple possible keys. This article proposes an alternative in which two keys combine to create a coherent, stable tonality. I adapt Robert Bailey’s concept of the “double-tonic complex” to demonstrate that in many rock songs, relative major and minor keys coexist with neither superior to the other and no conflict between them. These songs are not quite in two keys at once, but rather each component key represents a different incarnation of a single, more abstract tonality encompassing them both. The prolonged generative tonic of such a structure is a four-note sonority built from the union of the two tonic triads; this sonority often—but not always—appears as a surface chord at structurally important moments.
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Jeziński, Marek. "Obrazy miasta w utworach polskich grup alternatywnych lat 80. XX wieku." Kultura Popularna 3, no. 53 (February 26, 2018): 81–90. http://dx.doi.org/10.5604/01.3001.0010.8269.
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In the paper I analyse the ways in which a city, urbanism, city space and people living in urban environment are portrayed in Polish popular music, especially in the songs of Polish alternative bands of the 80. inthe 20th century. In popular music, the city is pictured in several ways, among which the most important is the use of words as song lyrics that illustrate urban way of life. The city should be treated as an immanent part of the rock music mythology present in the songs and in the names of bands. In the case of Polish alternative rock music of the 80.such elements are found in songs of such artists as Lech Janerka, Variete, Siekiera, Dezerter, Deuter, AyaRL. The visions of urbanism taken from their songs are the exemplifications used in the paper.
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Smith, Gareth Dylan Smith, Warren Gramm Gramm, and Kenrick Wagner. "Music education for social change in the United States: towards artistic citizenship through Little Kids Rock." International Journal of Pedagogy, Innovation and New Technologies 5, no. 2 (December 30, 2018): 11–21. http://dx.doi.org/10.5604/01.3001.0012.8539.
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Public education in the United States is often woefully under-funded, especially in the arts, despite a federal mandate to provide music education for all. Where music programs exist in US schools, they tend to focus on teacher-directed large ensembles that afford students little agency or creative opportunity, playing music that alienates a majority of young people. Faced with the volume of evidence pointing to the benefits of including music in a well-rounded education, philanthropy-funded nonprofit companies such as Little Kids Rock step in to fill the vacuum in state provision. This paper is a descriptive, intrinsic case study that describes how Little Kids Rock provides culturally relevant music making experiences for young people in schools, through a learning approach called music as a second language and alternative music classes termed modern band. Little Kids Rock builds a nationwide community of innovative music pedagogues by training teachers, donating musical instruments and sharing original curricular resources. This paper includes examples of two modern band teachers – one working in a rock band context, and the other a hip hop facilitator. The work of these and other teachers is ever more urgent in an era in which the U.S. perpetuates an intense neoliberal capitalism that oppresses and marginalizes vast numbers of its own people. Little Kids Rock aims to foster artistic citizenship wherein music makers recognize social and emancipatory responsibilities with the aim of transforming lives for the better.
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Kajanová, Yvetta. "Slovakian Female Composers and Rock Instrumentalists." Zbornik radova Filozofskog fakulteta u Splitu, no. 16 (December 21, 2023): 137–53. http://dx.doi.org/10.38003/zrffs.16.8.
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The paper discusses gender issues and the reception of female musicians in Slovakia. Using historical analysis, the author examines the establishment of, and behaviour towards, females in various genres from classical to jazz, alternative rock and electronic music. Whilst the acceptance of classical female composers began forty years ago, their jazz and rock counterparts were disadvantaged by a twenty-year delay. It was not until 2000 that female instrumentalists started to gain attention from audiences as drummers, bassists, or guitarists. Based on the evaluation of a survey of Slovakian alternative rock players, a study of their careers, and a comparison of selected artists, the writer analyses issues relating to the acceptance of female composers and instrumentalists in Slovakia. The vast majority of research participants, who are musically educated, identified market size as one of the barriers for female musicians. With regard to audience perception of females on stage, half of the respondents stated that gender predominates, and the rest, on the other hand, believed that the quality of music-making had a greater significance.
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BRATUS, ALESSANDRO. "Scene through the Press: Rock Music and Underground Papers in London, 1966–73." Twentieth-Century Music 8, no. 2 (September 2011): 227–52. http://dx.doi.org/10.1017/s1478572212000096.
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AbstractIn the years around 1968 London was home to a sizeable community of writers, musicians, artists, and political activists whose countercultural attitudes are expressed in the publications of the ‘alternative’ or ‘underground’ press – magazines such asInternational Times,OZ,INK,Friends(laterFrendz),Time Out,Gandalf's Garden,The Black Dwarf, andThe Hustler. That most of them had at least some pages devoted to music reflected the crucial role of rock in particular in summing up the community's aspirations, focused less on political or social than on cultural transformation. This article seeks to chart in these underground publications the changing attitudes towards music and its revolutionary potential. Initially the alternative press portrayed popular music as sharing with avant-garde tendencies a basic equation between new creative means and their would-be disruptive effects on society as a whole. However, there soon arose contradictions between the radical social potential of music and its growing commercialization, contradictions stemming not only from the co-optation of rock by market forces and record companies but also from the underground's own lack of a coherent ideological agenda. Paradoxically, it was precisely when popular music began to be considered a form of ‘high’ culture – just as the alternative press advocated – that its perceived effectiveness as part of the revolutionary, countercultural project began to diminish.
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Oshio, Atsushi. "THE RELATIONSHIP BETWEEN DICHOTOMOUS THINKING AND MUSIC PREFERENCES AMONG JAPANESE UNDERGRADUATES." Social Behavior and Personality: an international journal 40, no. 4 (May 1, 2012): 567–74. http://dx.doi.org/10.2224/sbp.2012.40.4.567.
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The relationship between dichotomous thinking and music preferences was investigated with a sample of 176 Japanese undergraduates (111 males, 65 females). Participants completed the Dichotomous Thinking Inventory (Oshio, 2009) and the Short Test of Music Preferences (Rentfrow & Gosling, 2003). Individuals who thought dichotomously preferred intense and rebellious, energetic and rhythmic, and fast and contemporary music rather than music that was complex and conventional. Specifically, they most liked rock, alternative, soul, funk, and heavy metal and disliked classical music.
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BANNISTER, MATTHEW. "‘Loaded’: indie guitar rock, canonism, white masculinities." Popular Music 25, no. 1 (January 2006): 77–95. http://dx.doi.org/10.1017/s026114300500070x.
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Indie alternative rock in the 1980s is often presented as authentically autonomous, produced in local scenes, uncaptured by ideology, free of commercial pressures, but also of high culture elitism. In claiming that the music is avant-garde, postmodern and subversive, such accounts simplify indie's historical, social and cultural context. Indie did not simply arise organically out of developing postpunk music networks, but was shaped by media, and was not just collective, but also stratified, hierarchical and traditional. Canon (articulated through practices of archivalism and connoisseurship) is a key means of stratification within indie scenes, produced by and serving particular social and cultural needs for dominant social groups (journalists, scenemakers, tastemakers, etc.). These groups and individuals were mainly masculine, and thus gender in indie scenes is an important means for deconstructing the discourse of indie independence. I suggest re-envisioning indie as a history of record collectors, emphasising the importance of rock ‘tradition’, of male rock ‘intellectuals’, second-hand record shops, and of an alternative canon as a form of pedagogy. I also consider such activities as models of rational organisation and points of symbolic identification.
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KOSILOVA, ELENA. "PHENOMENOLOGY OF MUSICAL UNDERSTANDING: THE CASE OF ROCK MUSIC." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 11, no. 2 (2022): 607–24. http://dx.doi.org/10.21638/2226-5260-2022-11-2-607-624.
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The article deals with the problem of understanding the meaning of music on the example of rock music. The purpose of the article is to find a criterion for such an understanding. For this purpose, the question is considered as to what musical meaning is. Since rock compositions usually have a short length and one explicit melody, it can be said that musical understanding is the grasping of this melody. The question arises as to what it means to grab a melody, and whether it means the ability to sing it. Not necessarily, it turns out–rather, it means capturing its pattern. The idea that music is a language is rejected: music does not have external meaning. The article discusses several examples of the “translation” of one melody into another style or mode. In such a translation the hyletic data changes, but the pattern remains. This is associated with the preservation of musical meaning and musical thought. The most important criterion of musical understanding is the existential experience of the melody. To understand music, to grasp its meaning, the listener must be open, that is, be ready to perceive music as an aesthetic object. At the moment of listening, music is a saturated phenomenon, because it completely fills its horizon. Any other, alternative music is impossible. The problem of corporeality in the perception of music is examined. It is especially important in rock music, which usually has a clear rhythm. The pattern of the melody also has a spatial character, which refers to corporality. Here we can talk about a certain “resonance” of external music with the inner musical world of the listener.
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Double, Oliver. "Punk Rock as Popular Theatre." New Theatre Quarterly 23, no. 1 (January 16, 2007): 35–48. http://dx.doi.org/10.1017/s0266464x06000613.
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Punk rock performance consciously draws on popular theatre forms such as music hall and stand-up comedy – as was exemplified on the occasion when Max Wall appeared with Ian Dury at the Hammersmith Odeon. Oliver Double traces the historical and stylistic connections between punk, music hall and stand-up, and argues that punk shows can be considered a form of popular theatre in their own right. He examines a wide range of punk bands and performers – including The Sex Pistols, Iggy Pop, Devo, Spizz, The Ramones, The Clash, and Dead Kennedys – to consider how they use costume, staging, personae, characterization, and audience–performer relationships, arguing that these are as important and carefully considered as the music they play. Art movements such as Dada and Futurism were important influences on the early punk scene, and Double shows how, as with early twentieth-century cabaret, punk performance manages to include avant-garde elements within popular theatre forms. Oliver Double started his career performing a comedy act alongside anarchist punk bands in Exeter, going on to spend ten years on the alternative comedy circuit. Currently, he lectures in Drama at the University of Kent, and he is the author of Stand-Up! On Being a Comedian (Methuen, 1997) and Getting the Joke: the Inner Workings of Stand-Up Comedy (Methuen, 2005).
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Jones, Steve. "Unlicensed Broadcasting: Content and Conformity." Journalism Quarterly 71, no. 2 (June 1994): 395–402. http://dx.doi.org/10.1177/107769909407100212.
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This paper examines the extent and content of pirate radio broadcasting in the United States. While it is assumed that unlicensed broadcasts provide an alternative to commercial radio broadcasts, such broadcasts do not offer a substantially alternative form of programming. They rely on popular music that is often programmed on licensed, commercial radio, and they rarely program music other than pop and rock ‘n’ roll. As a result, this study claims it is spectrum use and access the FCC seeks to control, and not content.
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Appel, Nadav. "‘Ga, ga, ooh-la-la’: the childlike use of language in pop-rock music." Popular Music 33, no. 1 (January 2014): 91–108. http://dx.doi.org/10.1017/s0261143013000548.
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AbstractIn this paper, I examine several aspects of pop-rock music that are characterised by the childlike use of language. Relying on the theoretical work of Gilles Deleuze and Félix Guattari – particularly on their concept of ‘becoming-child’ – I locate, describe and analyse three distinct childlike strategies common in pop-rock: the use of gibberish and nonsense that unbinds language from sense, enabling it to release its own expressive intensities; the utilisation of baby talk and other childlike vocal mannerisms, drawing attention to the physical properties of the act of singing as bodily experimentation; and different forms of repetition that ‘shake’ sense out of words, allowing them to draw their own lines of flight. Foregrounding these strategies, I ultimately claim, expands our understanding of pop-rock music while problematising its traditional interpretation as ‘rebellious’ music, offering its positive, productive qualities and ‘minoritarian’ politics as an alternative to the restricting dichotomy between oppression and liberation implied by the concept of rebellion.
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Larsen, Gretchen. "‘It’s a man’s man’s man’s world’: Music groupies and the othering of women in the world of rock." Organization 24, no. 3 (May 2017): 397–417. http://dx.doi.org/10.1177/1350508416689095.
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Groupies are understood as a particular type of fan that are most commonly associated with rock music. The ‘groupie’ identity is almost exclusively applied to female fans but sometimes also to female music producers and is largely used in a derogatory manner both by the popular media and by fans themselves. This article argues that the ‘groupie’ identity is used to ‘other’ and exclude women from creative production in rock music. This study draws on a rhetorical analysis of five published biographical accounts of groupies to examine how the labeling of certain people as ‘groupies’ works as an othering practice that serves to support and maintain the gendered norms of rock and identifies three underlying discursive processes. First, popular and music media played a significant role in stereotyping groupie as female right from the emergence of the label. Second, the notions of ‘credibility’ and ‘authenticity’, which are central to serious music journalism, are constructed in such a way as to stigmatize and therefore exclude women from rock, primarily by reframing ‘groupies’ as inauthentic consumers rather than proper fans. Finally, the intertwining of femininity with fandom, as occurs in groupiedom, serves to magnify cultural assumptions about women as sex objects and as passive consumers of mass culture. In elucidating both the gender and marketplace role politics at play in the ‘groupie’ identity and the mechanisms involved in othering women, space is opened in which alternative possibilities for understanding and enacting the role of women in rock can be imagined.
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Muhammad Akhdan Sytra and Defrizal Saputra. "Desain Album “Collide” Band Dieonic." Jurnal Riset Rumpun Seni, Desain dan Media 3, no. 1 (January 25, 2024): 148–59. http://dx.doi.org/10.55606/jurrsendem.v3i1.2561.
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Dieonic is an Alternative Rock music group with the Shoegaze subgenre hailing from Padang, Indonesia. Formed in 2022, Dieonic presents a fusion of key shoegaze elements within a series of alternative rock tracks, refining the essence of emo music. In the midst of Padang's vibrant underground music scene, Dieonic emerges with a distinctive sound, deviating from the conventional trends. This latest project aims to develop a visual communication concept that mirrors the artistic visualization of Dieonic's musical creations and their unique identity. Beyond offering educational insights into the significance of album design in the music industry, this endeavor concentrates on fortifying Dieonic's visual branding as a pivotal aspect of the band's identity, employing a semiotic approach. The cover design for Dieonic's 'Collide' album underwent a meticulous process, utilizing the 5W+1H analysis and the 4D method design for data analysis. The subsequent creative design seeks to encapsulate the band's essence. The resulting design serves as the primary medium in the form of the album itself, accompanied by supplementary materials such as album CDs, booklets, Spotify previews, posters, t-shirts, and flags. These diverse media will undergo thorough testing for their efficacy with a verified target audience to gauge their overall success.
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John Clark. "How The Beatles Destroyed Rock 'n' Roll: An Alternative Music History of American Popular Music (review)." Notes 67, no. 1 (2010): 98–101. http://dx.doi.org/10.1353/not.2010.0040.
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Hogg, Christopher. "The Punk-Rock King: Musical Anachronism in Period Film." Media International Australia 148, no. 1 (August 2013): 84–93. http://dx.doi.org/10.1177/1329878x1314800110.
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Music has a powerful indexical ability to evoke particular times and places. Such an ability has been exploited at length by the often-elaborate soundscapes of period films, which regularly utilise incidental scores and featured period songs to help root their narrative action in past times, and to immerse their audiences in the sensibilities of a different age. However, this article will begin to examine the ways in which period film soundtracks can also be used to complicate a narrative sense of time and place through the use of ‘musical anachronism’: music conspicuously ‘out of time’ with the temporality depicted on screen. Through the analysis of a sequence from the film W.E. (Madonna, 2011) and the consideration of existing critical and conceptual contexts, this article will explore how anachronistic soundtracks can function beyond ‘postmodern novelty’ or ‘nuisance’ to historical verisimilitude, instead offering alternative modes of engagement with story and history.
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Mukherjee, Kamalini. "Bangla Rock: exploring the counterculture and dissidence in post-colonial Bengali popular music." International Journal of Pedagogy, Innovation and New Technologies 4, no. 2 (December 28, 2017): 35–47. http://dx.doi.org/10.5604/01.3001.0011.5843.
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This paper is an attempt to explore the politics and the poetics of vernacular music in modern Bengal. Drawn from extensive and in-depth research into the current “scene” (as popularly referred to in the musician and music lover circles), this paper delves into the living histories of musical and linguistic revolutions in a part of India where the vernacular literature has been historically rich, and vastly influenced by the post-colonial heritage. The popular music that grew from these political and cultural foundations reflected its own pathos, and consecutively inspired its own form of oral tradition. The linguistic and musical inspirations for Bangla Rock and the eventual establishment of this genre in a rigidly curated culture is not only a remarkable anthropological case study, but also crucial in creating discourse on the impact of this music in the creation of oral histories. This paper will discuss both the musical and the lyrical journey of Bengali counterculture in music, thus in turn exploring the scope of Bangla – as in the colloquial for Bengali, and Rock – the Western musical expression which began during the 50’s and the 60’s (also populist and political in its roots). The inception of this particular political populist narrative driven through songs and music, is rooted in the Civil Rights movement, and comparisons can be drawn in the ‘soul’ of the movements, though removed both geographically and by time. Thus this paper engages with the poetics of Bangla Rock, to understand the marginal political voices surfacing through alternative means of expression.
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Resenbrock, Anja. "Book Review: Rockin’ Out of the Box: Gender Maneuvering in Alternative Hard Rock." Psychology of Music 33, no. 2 (April 2005): 220–21. http://dx.doi.org/10.1177/030573560503300207.
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Burkett, Lyn Ellen. "How the Beatles Destroyed Rock ‘n’ Roll: An Alternative History of American Popular Music." Popular Music and Society 33, no. 3 (July 2010): 423–25. http://dx.doi.org/10.1080/03007766.2010.484630.
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Tandt, Christophe Den. "The Rock Counterculture from Modernist Utopianism to the Development of an Alternative Music Scene." Volume !, no. 9 : 2 (December 15, 2012): 16–30. http://dx.doi.org/10.4000/volume.3261.
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Suisman, David. "How the Beatles destroyed rock 'n' roll: an alternative history of American popular music." Sixties 3, no. 2 (December 2010): 265–68. http://dx.doi.org/10.1080/17541328.2010.531536.
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Arenillas Meléndez, Sara. "Indie y masculinidad en la música popular española: el rock alternativo de Los Bichos/ Indie and masculinity in Spanish popular music: Los Bichos’ alternative rock." Multidisciplinary Journal of Gender Studies 9, no. 1 (February 25, 2020): 1. http://dx.doi.org/10.17583/generos.2020.4609.
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Gray, D'Arcy Philip. "David Tudor in the Late 1980s: Understanding a Secret Voice." Leonardo Music Journal 14 (December 2004): 41–47. http://dx.doi.org/10.1162/0961121043067361.
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David Tudor's compositions of the late 1980s are somewhat mysterious. His artistic and technical approach was unique and can be seen as a precursor to much of the underground noise and avant-rock music that permeates the alternative club scene today. The author uses Tudor's Web pieces to explore his later work, studying his methodology and the possibility of reconstructing his systems.
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Fulk, Kirkland A. "Sounds German?: Popular Music in Postwar Germany at the Crossroads of the National and Transnational." German Politics and Society 35, no. 2 (June 1, 2017): 1–6. http://dx.doi.org/10.3167/gps.2017.350201.
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A musical undercurrent has long permeated German culture and intellectual life. For more than a century, theories and practices of folk, art, and classical music—variously understood both in their mutual interrelation and as entirely distinct—have anchored definitions of German national identity and the German cultural heritage. More recently, musical styles such as jazz, rock and roll, and hip-hop have also played a key role in the emergence of new social movements and alternative sensibilities in Germany. Indeed, since the end of World War II, popular music practices in Germany have been alternatively decried as drivers of Americanization and hailed as catalysts of technological development that prompt new ways of producing and consuming music to emerge.
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Zak, Albin J. "Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation "All along the Watchtower"." Journal of the American Musicological Society 57, no. 3 (2004): 599–644. http://dx.doi.org/10.1525/jams.2004.57.3.599.
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A comparison of recordings of Bob Dylan's "All along the Watchtower" by Bob Dylan and Jimi Hendrix offers a vivid case study of what Samuel Floyd characterizes as "the complementary oppositions of African- and European-derived musical processes and events." The song itself draws together elements of ballad and blues traditions; and the two recordings treat this synthesis in very different ways even as they share the common ground of late 1960s rock. Dylan's is a spare, acoustic folk-rock rendition, while Hendrix's is an opulent electric spectacle whose sonic and syntactic conception unpacks the latent drama only suggested by the original. In the process, Hendrix offers an alternative answer to the song's existential dilemma implied in its lyrics and emphasized in its musical setting. This paper examines the elements and the workings of the dialogic interaction represented first of all in Dylan's song, and then in the transformation it undergoes in Hendrix's version.
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Stiegler, Zack. "REVIEWS: How the Beatles Destroyed Rock 'n’ Roll: An Alternative History of American Popular Music by Wald, Elijah." Journal of Popular Music Studies 22, no. 3 (September 9, 2010): 337–40. http://dx.doi.org/10.1111/j.1533-1598.2010.01246.x.
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Magaudda, Paolo. "Processes of institutionalisation and ‘symbolic struggles’ in the ‘independent music’ field in Italy." Modern Italy 14, no. 3 (August 2009): 295–310. http://dx.doi.org/10.1080/13532940802556578.
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Over the last fifteen years, independent rock music has become a wider field of cultural production and consumption in Italy. Indeed, while during the 1970s and 1990s the production of independent music was connected predominantly to political movements, alternative subcultures and the antagonistic attitude of the ‘centri sociali’, in the present decade, independent popular music has moved towards the centre of the national music industry and the mass media of the musical mainstream. This article describes the phases of this process of institutionalisation, showing how the politically based culture of independent music is today at the centre of a symbolic struggle occurring between the values of authenticity, rooted in political youth cultures, and the strategic and pragmatic tendency towards integration into the mainstream of the national music industry. This analysis is carried out applying the Bourdieian concepts of ‘field of cultural production’ and ‘cultural capital’, together with their evolutions into the notion of ‘subcultural capital’. This theoretical framework is applied in order to show both the process of institutionalisation this cultural field is undergoing, and the symbolic struggle taking place between the original values of the political and cultural autonomy of music and the commoditisation of musical objects in the mainstream mass media and national industrial sector. Finally, it is shown how new agents who represent the independent popular music industry at the national level need to deal with claims for authenticity raised by the alternative and extreme wings of the independent music scene.
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Kosek, Jakub. "Alternatywny scenariusz biografii muzyka rockowego – o życiu i twórczości Jasona Beckera." Kultura-Społeczeństwo-Edukacja 10, no. 2 (December 15, 2016): 191–200. http://dx.doi.org/10.14746/kse.2016.10.15.
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The article focuses on the analysis of the biography of an American rock guitarist, namely Jason Becker. The main object of this study was the documentary „Jason Becker. Not Dead Yet” (2012) and some selected press news and information available on social media. The original biography of the musician, who within a few years has become famous in the world of rock music and since the age of 19 has had to confront the incurable disease – amyotrophic lateral sclerosis – is an interesting example of the alternative model of a biography in popular culture. It is also an educational story that teaches fundamental values, such as altruism, love, respect and friendship.
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Wlodarczyk, Natalie. "“It’s My Time”: Older Adults’ Experiences and Perceived Benefits of Participation in an Intergenerational Rock Band." Music Therapy Perspectives 38, no. 2 (November 25, 2019): 187–94. http://dx.doi.org/10.1093/mtp/miz021.
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Abstract The purpose of this qualitative content analysis was to explore the experiences and perceived benefits for older adult members who participated in an intergenerational rock band (IGRB) pairing older adults with college students. Participants (n = 29) were first-time older adult IGRB members who completed semi-structured interviews over the course of 5 years. Interviews were completed within 1 week of the conclusion of the semester-long participation in the IGRB. Each interview was digitally recorded, manually transcribed, and analyzed using an iterative approach to thematic analysis. Experiences and perceived benefits associated with participation in the IGRB for these older adults were encompassed by four themes: Staying Active, Wanting to Try Something New, Feeling Connected, and Seeking Positive Experiences. Findings indicate that an IGRB is an innovative, collaborative, and inclusive intergenerational music-making experience that leaves a multifaceted and overall positive impact on its older adult members. Themes suggest that older adults with musical backgrounds may enjoy an experience like an IGRB because it brings a level of familiarity coupled with the opportunity to try something new and different from their previous experiences with music. A key contribution of this study is the importance of promoting a judgment-free environment for singing that is inclusive of all ability levels. Developing a better understanding of older adults’ motivations for participating in an IGRB may help us to plan future music experiences for older adults and broaden our reach to the older adult community.
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Barrantes, Mariela Agüero. "The underground: Alternative scenes and clothing styles in Costa Rica during the 1990s." Fashion, Style & Popular Culture 11, no. 2 (July 1, 2024): 341–53. http://dx.doi.org/10.1386/fspc_00252_1.
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During the 1990s, Costa Rica experienced a growth in young bands performing emergent music genres. From a post-subcultural approach, this article argues that a varied array of young bands from different musical genres and scenes created a sense of unity and support that led to the creation of what was known as ‘the underground scene’ during the 1990s. The ‘underground scene’ served as a platform that opened up a series of spaces that were alternative to the mainstream, where youth groups were able to perform their music and create new styles. In these new spaces, members of the underground developed new clothing styles linked to their musical tastes. By interviewing members of different alternative rock and reggae bands, information was gathered and analysed to visualize the development of these scenes. Members of the scene established their clothing styles based on their icons and could be identified within a specific genre due to their dress. Aesthetics were a mix of influences and bands that came directly from western countries. Americanas (thrift stores) was youth’s primary outlet for clothing hunting and they adopted current styles directly from the United States.
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Dwyer, Michael D. "The same old songs in Reagan-era teen film." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 5–18. http://dx.doi.org/10.33178/alpha.3.01.
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This article examines the recontextualization of 1950s rock in the form of “Oldies” in teen films of the 1970s and 1980s. Specifically, the article highlights the peculiar phenomenon of scenes featuring teenagers lip-synching to oldies songs in films like Risky Business (1983), Pretty in Pink (1986), Ferris Bueller's Day Off (1986), and Adventures in Babysitting (1987).In these scenes, like in the cover versions of rhythm and blues records popularized by white artists in the fifties, white teens embody black cultural forms, “covering” over the racial and sexual politics that characterized rock and roll's emergence. The transformation of rock 'n' roll from “race music” to the safe alternative for white bourgeois males in the face of new wave, punk, disco and hip hop, reflected in the establishment of oldies radio formats and revival tours, was aided and abetted by oldies soundtracks to Hollywood film.
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Bestley, Russ. "Shellshock Rock: Alternative Blasts from Northern Ireland 1977–1984, 3CD and DVD box set, Various Artists." Punk & Post-Punk 10, no. 1 (February 1, 2021): 173–76. http://dx.doi.org/10.1386/punk_00082_5.
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Raja Adi Pranata, Jeremy Reynald, Farhan Armandy Rasyid, Joevan Alezka, Muhammad Indra Ferdinand, Tubagus Zakki Ibrahim Ahmad, Rizki Budiman, and Rahmi Yulia Ningsih. "Analisis Python Penggunaan Musik Sebagai Pengobatan Gangguan Mental." Jurnal Publikasi Teknik Informatika 2, no. 2 (May 10, 2023): 38–47. http://dx.doi.org/10.55606/jupti.v2i2.1721.
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Music has become an important part of mental healing efforta. This is because music can reduce anxiety, such as symptoms of depression, anxiety, fear and have a positive effect on mood. However, research that describes statistically and explains visually is still rarely done. Therefore, this study aims to describe statistically and visualize the effectiveness of music as a healing of mental disorders. Through the literature study method, namely the search for references related to mental diseases and music, and pyton analysis, namely to conduct statistical data analysis and visualize data. The results explained that sufferers of mental disorders who listen to music are anxiety, depression, insomnia, OCD, the average age of listening to music that is affected by mental disorders of 14 years to 20 years as many as 300 people, on average per day listening to music for three hours a day as many as 175 as many as 175 People, the effectiveness of healing listening to music as many as 548 people from 736 people or in a percentage of 74.5% of the success rate of music in curing mental illness. This study proves that mental disorders can be cured by listening to music, especially music with rock and pop genres. This research contributes to the knowledge of listening to music into an alternative to healing mental disorders.Therefore future research is necessary to study in other mental disease disorders, not limited to patients with anxiety, Isomania, depression, OCD.
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Zhuk, Sergei I. "Popular Religiosity in the “Closed City” of Soviet Ukraine: Cultural Consumption and Religion during Late Socialism, 1959-1984." Russian History 40, no. 2 (2013): 183–200. http://dx.doi.org/10.1163/18763316-04002003.
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Part of a larger research project about Soviet cultural consumption and identity formation, this article explores the connection between rock music and religiosity in the industrial city of Dnepropetrovsk, Ukraine, in the late socialist period. The Committee of State Security [Komitet gosudarstvennoi bezopasnosti, KGB] closed Dnepropetrovsk to foreigners in 1959 when one of the Soviet Union’s biggest missile factories opened there. Because of its “closed” nature, Dnepropetrovsk became a unique Soviet social and cultural laboratory where various patterns of late socialism collided with new Western cultural influences. The closed city of Dnepropetrovsk can be seen as a microcosm of Soviet society as a whole. Drawing from a wide variety of sources, including archival documents, periodicals, personal diaries and interviews, this article demonstrates how popular fascination for Western rock music, such as Andrew Lloyd Webber’s Jesus Christ Superstar, spurred interest in Christianity. Local Protestant and Orthodox church leaders skillfully promoted such interest, even as the Party bosses tried to quash it. This study stands as a reminder of the continued draw of Christianity in Orthodoxy’s heartland—even through alternative, modernizing media—despite the official promotion of atheism.
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Antinora, Sarah. "How the Beatles Destroyed Rock “N” Roll: An Alternative History of American Popular Music by Elijah Wald." Journal of Popular Culture 43, no. 2 (April 2010): 408–9. http://dx.doi.org/10.1111/j.1540-5931.2010.00748.x.
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HAYTON, JEFF. "Crosstown Traffic: Punk Rock, Space and the Porosity of the Berlin Wall in the 1980s." Contemporary European History 26, no. 2 (March 13, 2017): 353–77. http://dx.doi.org/10.1017/s0960777317000054.
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This paper argues that crosstown traffic in the East and West German punk subculture was an essential aspect of how popular music helped to challenge the political legitimacy of the East German government. West German punks frequently crossed the border to attend Eastern punk concerts, meet with friends and trade stories and experiences, connections that helped to foster a transnational community of alternative youths. These interactions denied official claims that punk was the result of capitalist decadence while undermining the East German government's efforts at cultivating a distinctive socialist identity. Nor were border crossings unidirectional, as Eastern punks made daring attempts to connect with their Western cousins. Writing for West German fanzines, appearing in the Western press and even managing to release Eastern recordings smuggled westwards, Eastern punks crossed the Iron Curtain and in so doing, worked to present an alternative vision of Eastern youth to the world and join the global punk scene.
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Boyle, James Philip Sheng, Mohd Nasir Hashim, and Yi-Li Chang. "THE INFLUENTIAL MUSICAL COMPOSITIONAL TOOLS OF MALAY POPULAR MUSIC IN MALAYSIA OF THE MID 20th AND THE EARLY 21st CENTURY." International Journal of Creative Industries 4, no. 9 (March 6, 2022): 01–18. http://dx.doi.org/10.35631/ijcrei.49001.
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In the mid-20th century, it is noteworthy that Malay popular music composed in this era was heavily influenced by various stylistic and cultural musical forms of both the traditional Malay styles such as asli, inang, joget, zapin and even keroncong, and also by Western idioms and styles. Branded as jazz ballads in the Mid-20th Century, Malay popular music is a key subject in unveiling the musical changes in the Malay popular music history of Peninsula Malaysia. In the 1960s, there was a trend to compose Malay popular music with heavily influenced idiomatic jazz harmonics in the many various Western styles. In the early 21st century, as it has musically and stylistically evolved, Malay popular music became closely associated with the continuous dissemination of patriotic songs in Malaysia as well as an amalgamation of the various trending styles of the Western hemisphere such as funk, pop, rhythm and blues, gospel and even rock music. Throughout it all, the continued and consistent harmonics of Jazz Music have been an ever-present tool for many Malay Popular Music composers since the early years of independence. This paper will focus on four chosen compositions, two from each of the time frames in focus and each tune will have an analysis from a singular compositional viewpoint, be it melodic (Gema Rembulan-Jimmy Boyle, 1956), chordal (Air Mata Berderai-Alfonso Soliano,1964) or the dissertation of the song-form (Selingkuh Kasih-Mokhzani Ismail,2006 & Gemilang-Aubrey Suwito,2005). Through the analysis of the chosen musical scores, this paper intends to reintroduce and refresh the essential elements of composing a Malay Popular Music composition as well as the musical influences and changing mindsets of approach on the different compositional styles of Malay popular music, its culture, and identity, of the mid-20th and the early 21st centuries of Malaysia to the current and future composers of this genre.
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MONTEROLA, CHRISTOPHER, CHERYL ABUNDO, JERIC TUGAFF, and LORCEL ERICKA VENTURINA. "PREDICTION OF POTENTIAL HIT SONG AND MUSICAL GENRE USING ARTIFICIAL NEURAL NETWORKS." International Journal of Modern Physics C 20, no. 11 (November 2009): 1697–718. http://dx.doi.org/10.1142/s0129183109014680.
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Accurately quantifying the goodness of music based on the seemingly subjective taste of the public is a multi-million industry. Recording companies can make sound decisions on which songs or artists to prioritize if accurate forecasting is achieved. We extract 56 single-valued musical features (e.g. pitch and tempo) from 380 Original Pilipino Music (OPM) songs (190 are hit songs) released from 2004 to 2006. Based on an effect size criterion which measures a variable's discriminating power, the 20 highest ranked features are fed to a classifier tasked to predict hit songs. We show that regardless of musical genre, a trained feed-forward neural network (NN) can predict potential hit songs with an average accuracy of Φ NN = 81%. The accuracy is about +20% higher than those of standard classifiers such as linear discriminant analysis (LDA, Φ LDA = 61%) and classification and regression trees (CART, Φ CART = 57%). Both LDA and CART are above the proportional chance criterion (PCC, Φ PCC = 50%) but are slightly below the suggested acceptable classifier requirement of 1.25*Φ PCC = 63%. Utilizing a similar procedure, we demonstrate that different genres (ballad, alternative rock or rock) of OPM songs can be automatically classified with near perfect accuracy using LDA or NN but only around 77% using CART.
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Zaluzhnyi, Mark. "Soviet Popular Music in the 1960s – 1980s: General Characteristics and Development Trends." Ethnic History of European Nations, no. 72 (2024): 79–88. http://dx.doi.org/10.17721/2518-1270.2024.72.08.
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The article is devoted to the development of Soviet popular music in the 1960s – 1980s. The author analyzed the song’s characteristics, identified the distinguishing features of the performer’s image and identified the main development trends. Internal and external influences on popular music are also highlighted. On the one hand, this is a factor of the penetration of Western pop culture, and on the other hand, the traditions formed under the influence of ideology within the USSR. For a long time, the official pop music was almost the only permitted option for musical creativity in the totalitarian system. It was characterized by a high level of performance skill and an orientation to the academic tradition, a predominance of a clear and refined melody, patriotic and intimate lyrics, as well as restraint and modesty of manners and a generally conservative image of the artist. At the same time, there was a search for new musical and textual forms, manifested in an appeal to more pronounced melodism, and artists’ experiments with their own style, when typical and strict clothes were replaced by bright and original outfits, the work of VIA was a vivid expression of this. As an alternative to the pop music, an amateur author’s song appears and develops. For the author’s song of the romantic direction, which arose during the period of Khrushchev’s liberalization, idealization of military achievements, travels and life trials, which were full of lyricism and light humor, was inherent in the romantic form; however, later, with the beginning of the collapse of the liberal course, the protest work of bards came to the fore – the themes of exposing cruelty began to dominate, irony and sarcasm appeared in the texts, and in some places the vocabulary was reduced. The image of a Soviet bard was formed – a poet-musician with a guitar. During Gorbachev’s socio-political transformations, the state, which used to be the main actor in musical culture, conceded its positions to young representatives of amateur creativity. That’s when disco and rock music become popular. Disco was characterized by an orientation towards rhythmic textures and themes of urban romances, while the manner and image of the performers were dominated by looseness and extravagance. Soviet rock was based on «big beat» and the social themes of the lyrics, and the artist’s style stood out for its simplicity and freedom. Pop music begins to depart from the formed tradition, adopting certain features of disco and even rock. More electronic music is appearing, lyrics are becoming less serious, expressing simpler meanings, and artists’ styles are becoming more casual.
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Chattopadhyay, Shankhadeep. "Bruce Springsteen, Rock Poetry, and Spatial Politics of the Promised Land." Humanities 13, no. 3 (May 13, 2024): 75. http://dx.doi.org/10.3390/h13030075.
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The humanistic-geographical associations of popular music foster the potential to articulate the production and reproduction of an activity-centered politicized ontology of space in the everyday social life of any creative communitarian framework where an alternative set of lifestyles, choices, and tastes engage in a constant play. A cursory glimpse at the (counter-)cultural artistic productions of the American 1970s shows that the lyrical construction of real and imaginary geographical locales has remained a distinguishing motif in the song-writing techniques of the celebrated rock poets. In the case of Bruce Springsteen, whether it is the ‘badlands’, constituting the rebellious and notorious young adults, or the ‘promised land’, which is the desired destination of all his characters, his lyrical oeuvre has numerously provided an alternative sense of place. Springsteen’s lyrical and musical characterization of fleeting urban images like alleys, hotels, engines, streets, neon, pavements, locomotives, cars, etc., have not only captured the American cities under the changing regime of capital accumulation but also contributed to the inseparability of everyday social lives and modern urban experiences. Against the backdrop of this argument, this article seeks to explore how the socio-political and cultural aesthetics of Springsteen’s song stories unfurl distinct spatial poetics through their musical language. Also, the article attempts to delineate how Springsteen’s unabashed celebration of the working-class geography of the American 1970s unveils a site of cultural struggle, wherein existing social values are reconstructed amidst imaginary landscapes and discursive strategies of resistance are weaved.
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Grenier, Line. "Radio broadcasting in Canada: the case of ‘transformat’ music." Popular Music 9, no. 2 (May 1990): 221–33. http://dx.doi.org/10.1017/s0261143000003925.
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What do Michel Rivard's ‘Un trou dans les nuages’ and Marjo's ‘Les chats sauvages’ have in common? Both songs were released in 1987 by two well-known French-speaking Québécois artists; they sold over 500,000 copies each and remained on the Top-Ten chart of Radio-Activité for over seventy weeks. These songs were played repeatedly on AM and FM radio stations in Quebec. However, unlike most other hits, Rivard's middle of the road (MOR) ballad was even heard on dance-music radios and Marjo's slow-beat rock appeared on the regular playlist of stations devoted primarily to easy-listening music! In fact, these songs are two examples of ‘transformat’ radio music, that is songs that get airplay on various stations which according to their respective operating license, should specialise in different musical genres and display contrasting programming styles. Using examples drawn from an exploratory study of radio music in private (commercial) FM stations in the Eastern Townships (Québec), this article will address some of the issues raised by transformat music. After a brief analytical portrait of Canada's radio policies and format regulations, I shall examine contrasting explanations of this phenomenon which focus on genre/style, state policy and business/industry. In the closing section, I shall present outlines of an alternative approach which rests upon the acknowledgement of the specific contribution of radio to the social production of popular music and addresses transformats as the outcome of creative repetition broadcasting devices.
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Vasylieva, Larysa. "Semantic of the form in rock-music: art-pedagogical aspect (on example of hardand-heavy)." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 42–47. http://dx.doi.org/10.33310/2518-7813-2019-66-3-42-47.
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Purpose of Article - description of the semantic features of the hard-and-heavy musical composition in artistic and pedagogical aspects - the following tasks are specifically applied: individual perspectives of the study of semantics in rock music; need an organization theme), describe the structure and semantic model of hard and heavy compositions. Methodology relies on an integrated approach with the use of system-structural, functional and comparative methods, which allows to explore the characteristics of musical composition's semantics in hardand-heavy at the intonational-thematic, genre, compositional levels. Scientific novelty consists in describing the models of the structural and semantic organization of hard-and-heavy compositions on the basis of a study of the processes of shaping, thematic and structural organization. Hard-and-heavy uses various types of forms - from simple to complex, mirror-symmetric, open, alternative, which are based on one of the three types of thematic organization: monoriff, polyriff, spiral. Structural models of hard-and-heavy musical forms emerge based on the interaction of genre features of vocal and instrumental music. Each structural model corresponds to a generalized semantic model with a specific range of values. The guiding lines for semantic interpretation are representations of typical forms. The semantic model of a typical hardand-heavy composition has several particular models that play the role of a meaningful scenario, define the functional and dynamic profile of the piece, and create the semantic field of this form. Semantic analysis of the rock-piece`s form, as a component of the operational level of artistic and pedagogical analysis, provides an awareness of the joint action of the means of musical expression in their interconnection and conditionality of content. It reveals the structural features of a piece of music, facilitating the process of perception and providing active influence of musical images on the listeners
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Opekar, Aleš. "Czech Underground from a Musical Historical Point of View." CENTRAL EUROPEAN JOURNAL FOR CONTEMPORARY RELIGION 4, no. 2 (November 28, 2022): 5–34. http://dx.doi.org/10.14712/25704893.2022.2.
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The first part of the article summarises and comments on the literature on the Czech music underground. It proves that professional research of the phenomenon was previously carried out by foreign authors, whose focus was mainly on the social and political contexts in Eastern Europe. Memoirs and published interviews predominated in the domestic reflection of the phenomenon. Theoretical studies, including monographic treatises, appear only on an ongoing basis. However, the underground is still more in the field of view of historians than musicologists. This article also traces the changes in understanding the “underground” category in the Czech environment. It leads to defining it compared to the “alternative scene” and “grey zone” categories, which gradually gained a specific significance in Czech public awareness in the 1970s and 1980s. The second part of the article places the Czech musical underground in the context of the general development of rock and popular music in Czechoslovakia in the 1970s and 1980s.