Relevant bibliographies by topics / Blues-rock music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Blues-rock music'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Blues-rock music"

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Mara, Vlad. "Led Zeppelin's Music and Its Black Blues (un)credited Influence." SOCIAL SCIENCES AND EDUCATION RESEARCH REVIEW 9, no. 1 (2022): 157–66. https://doi.org/10.5281/zenodo.6795742.

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Led Zeppelin is considered one of the most influential rock bands in the history of music due to their sophisticated sound and seminal compositions. Their music prodigiously impacted the industry, blazing the trail for today’s prominent artists. Throughout the years, their cultural legacy was fathomlessly analysed and assessed by a plethora of music pundits who focused their investigations on the musicians’ educational and artistic background, early musical influences and creative mindset. Despite being notorious for their rock supremacy, many of their works are deeply rooted in Af
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Kwieciński, Wojciech. "Pojawienie się bluesa w Polsce. Przypadek inwersji w ewolucji gatunku muzycznego." Przegląd Kulturoznawczy, no. 3 (57) (October 2023): 308–24. http://dx.doi.org/10.4467/20843860pk.23.022.18580.

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The emergence of blues from the aesthetics of the so-called “big-beat” in Polish popular music is a process that largely coincides with a parallel phenomenon observed in other European countries. With the expansion of rock and roll in the UK during the 1960s, many beat performers (e.g. The Rolling Stones, The Animals) turned towards blues aesthetics, attempting to imitate black American performers. It should be emphasised that this was done in isolation from the cultural context and “root” performance tradition and was a kind of experiment that, despite some cases of apparent stylistic deviati
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Marcus, Alan P. "When Brazil Got the Blues: The Diffusion of Blues in Brazil." Brasiliana: Journal for Brazilian Studies 10, no. 2 (2022): 382–406. http://dx.doi.org/10.25160/bjbs/10.2.22.

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Thisarticlewillexamine theintroduction of blues in Brazil (1985-1992), a phenomenon thathas not yet been addressed in scholarly spheres until now. By highlighting the processes of globalization and the Brazilian blues band from Riode Janeiro, Blues Etílicos, I ask what were the spaces, places, and venues that helped to disseminate blues throughout Brazil? How does an African-American-based genre adopted and popularized by upper-and-middle-class white urbanites in Brazil? To answer these questions, I discuss the process ofglobalization and the Geography of music, political, musical,and cultural
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Stanfield, Peter. "Crossover: Sam Katzman'sSwitchblade Calypso Bop Reefer Madness Swamp Girlor ‘Bad Jazz,’ calypso, beatniks and rock 'n' roll in 1950s teenpix." Popular Music 29, no. 3 (2010): 437–55. http://dx.doi.org/10.1017/s0261143010000255.

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AbstractThis essay challenges the received wisdom that teenpix of the 1950s were dominated by a soundtrack of rock 'n' roll. I argue that this cycle of film production was marked by a diversity of musical genres, styles and types. Not only rock 'n' roll, but rhythm 'n' blues, folk, rockabilly, swing, West Coast jazz, bebop, Latin music such as the mambo, the rhumba, the cha cha chá, and Caribbean calypsos were all heavily featured in these films. This study is carried out through a focus on the temporal arrangements – fads, cycles, trends – that govern serial production and consumption of movi
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Bowman, Rob. "Post-World War II Rhythm and Blues: Jump Blues, Club Blues, and Roy Brown." Canadian University Music Review 17, no. 1 (2013): 20–39. http://dx.doi.org/10.7202/1014691ar.

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The classification of different styles of North American popular music has often been problematic. This paper investigates some of the music referred to as rhythm and blues (r & b) in the late 1940s and early 1950s by specifically looking at the works of one of the music's leading practitioners of the time, Roy Brown. Brown recorded both jump and club blues between 1947 and 1955, placing fifteen records in the Top 20 of the Billboard rhythm and blues charts. For the purposes of this paper fifty-four of the seventy-four songs that Brown recorded in this period were analyzed with respect to
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Alkhayat, Marwa Essam Eldin. ""Are My Songs Literature?": A Postmodern Appraisal of Bob Dylan's American Popular Music Culture." Jurnal Humaniora 30, no. 1 (2018): 27. http://dx.doi.org/10.22146/jh.32137.

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The current study is a postmodern appraisal of Bob Dylan’s artistic career and vocal gestures to examine the way melody in popular music works in relation to speech and singing, the grand and the ordinary. It historicizes Bob Dylan’s protest music of the 1960s within the paradigm of folk music culture. Dylan’s music is full of riffs, blues sequences, and pentatonic melodies—all heavily part and parcel of blues, folk, gospel, and country music. It is the music that dwells on the pleasures of repetition, of circularity, and of the recurring familiar tune integrated within Dylanesque poetics of r
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Alkhayat, Marwa Essam Eldin. ""Are My Songs Literature?": A Postmodern Appraisal of Bob Dylan's American Popular Music Culture." Jurnal Humaniora 30, no. 1 (2018): 27. http://dx.doi.org/10.22146/jh.v30i1.32137.

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The current study is a postmodern appraisal of Bob Dylan’s artistic career and vocal gestures to examine the way melody in popular music works in relation to speech and singing, the grand and the ordinary. It historicizes Bob Dylan’s protest music of the 1960s within the paradigm of folk music culture. Dylan’s music is full of riffs, blues sequences, and pentatonic melodies—all heavily part and parcel of blues, folk, gospel, and country music. It is the music that dwells on the pleasures of repetition, of circularity, and of the recurring familiar tune integrated within Dylanesque poetics of r
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Bromell, Nick. ""The Blues and the Veil": The Cultural Work of Musical Form in Blues and '60s Rock." American Music 18, no. 2 (2000): 193. http://dx.doi.org/10.2307/3052483.

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BRACKETT, DAVID. "Improvisation and Value in Rock, 1966." Journal of the Society for American Music 14, no. 2 (2020): 197–232. http://dx.doi.org/10.1017/s1752196320000073.

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AbstractThe mid-1960s has figured as a central period in the historiography of popular music, but the role of improvisation has been little discussed. This article argues that issues of improvisation and value are crucial to understanding the emergence of a high-low split within popular music, a division that figures prominently in criticism and fan discourse up to the present day. This new stratification within popular music made it possible for rock to acquire critical prestige relative to other popular music genres. The formation of rock also relied on its association with a primarily white
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Jin, Jae Young, Marzelan Salleh, and Camellia Siti Maya Mohamed Razali. "THE ELEMENTS INFLUENCING THE MUSICAL DIRECTION OF FUSION JAZZ ARTISTS: A STUDY OF LEE RITENOUR." International Journal of Creative Industries 6, no. 10 (2024): 01–15. http://dx.doi.org/10.35631/ijcrei.610001.

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Traditional Jazz is characterized by swing rhythm, the use of blues notes, syncopation, and improvisation. Jazz music has gone through evolution, birthing multiple iterations of a genre. One such iteration is Fusion Jazz as a combination of Jazz and Rock music. This music has undergone changes, adopting musical elements from various genres such as Funk, R&B, Blues, and other popular music, including the occasional use of computer programing. This study analyzes and studies the elements that have influenced fusion jazz artists. During the process of producing, recording, and performing, mus
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Dissertations / Theses on the topic "Blues-rock music"

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Kellett, Andrew James. "Fathers and sons American blues and British rock music, 1960-1970 /." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8863.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2008.<br>Thesis research directed by: Dept. of History. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Woodward, Henry Canning. "Rock 'n' Roll Stew: The Rolling Stones and Blues Music through the Looking Glass of American Culture in the 1960's." W&M ScholarWorks, 1992. https://scholarworks.wm.edu/etd/1539625712.

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Grassy, Elsa. "Le lieu musical : du texte à l’espace, un itinéraire sémantique. Poétique des catégories géographiques dans les musiques populaires américaines (1920-2007)." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040118.

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Il existe dans le discours de la presse musicale américaine de nombreux de termes géographiques, dont la fonction n’est pas uniquement de localiser l’origine des courants musicaux ou d’opérer leur catégorisation par genre ou sous-genre : ces mots sont l’indice d’une véritable esthétique géomusicale, par laquelle lieux et musique se donnent sens et valeur. L’ancrage dans un lieu confère à la musique la valeur de vérité et de réalité que recouvre la notion d’authenticité, et donne lieu à des jugements esthétiques imprégnés de déterminisme géographique. Cependant, le lien avec un lieu étant consi
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Vaughn, Erin M. "Harmonic Resources in 1980s Hard Rock and Heavy Metal Music." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1449012267.

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Quillen, Zachary J. "The Relationship Between the Melodic-Harmonic Divorce in Blues-Based Rock, theStructure of Blue Tonality, and the Blue Tonality Shift." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1617440977351617.

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Schlicher, Jeremy T. "A Multi-Genre Adaptive Performance Hall." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148489621.

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Bonnot, Charles. "Le discours des documentaires musicaux : de Robert Johnson à LCD Soudsystem." Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC316.

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Cette thèse est une étude linguistique et discursive d'un corpus constitué de longs métrages documentaires consacrés à la musique populaire anglophone au 20ème siècle : rock, folk, blues punk, électro. Nous proposons en premier lieu une description des films du corpus tenant compte de critères formels, discursifs et narratifs. Nous voyons notamment de quelle façon le montage permet une articulation entre micro et macro-discours, ainsi que la création de pseudo-dialogues et d'une chaîne anaphorique plurisémiotique. Nous observons également un certain nombre de traits narratifs récurrents au sei
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Helper, Laura. "Whole lot of shakin' going on: An ethnography of race relations and crossover audiences for rhythm and blues and rock and roll in 1950s Memphis." Thesis, 1997. http://hdl.handle.net/1911/19166.

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This dissertation, an ethnographic history of urban segregation and popular culture in the 1950s, is based on sixteen months of field research in Memphis and a year's archival work at the Smithsonian's National Museum of American History. I show that Memphians lived both race and music as part of specific urban rhythms and in changing urban spaces, creating and responding to a rich musical scene and new mass media. The music and its distribution crossed lines of class and race, and black and white people of different classes lived next to each other in many neighborhoods. My research makes cle
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Weiss, Peter Okie. "“Jive That Anybody Can Dig :” Lavada “Dr. Hepcat” Durst and the desegregation of radio in Central Texas, 1948-1963." Thesis, 2012. http://hdl.handle.net/2152/27191.

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Lavada “Dr. Hepcat” Durst was the first African American popular music disc jockey in Texas. His radio program The Rosewood Ramble was broadcast on Austin station KVET-1300 AM from 1948 until 1963. KVET’s white owners, who included future Texas politicians John Connally and J. J. “Jake” Pickle, were not outspoken advocates for the rights of African Americans under Jim Crow, but they hired Durst in a concentrated effort to expand KVET’s African American listening audience. The Rosewood Ramble became a cultural, economic, and psychological resource for black radio listeners in segregated central
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Books on the topic "Blues-rock music"

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Band, Tedeschi Trucks. Everybody's talkin'. Masterworks, 2012.

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Lilliestam, Lars. Gehörsmusik: Blues, rock och muntlig tradering. Akademiförlaget, 1995.

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Booker, Benjamin. Benjamin Booker. ATO Records, 2014.

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Clapton, Eric. Unplugged. Reprise, 1992.

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Kessler, Dietrich. Neue Musiklehre & Songcomposing: Klassik, Jazz, Blues, Rock. KDM., 1993.

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Clapton, Eric. Crossroads. 4th ed. Polydor, 1988.

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Michka, Assayas, ed. Dictionnaire du rock: Blues, country, folk, pop, reggae, rock indépendant, soul. Laffont, 2002.

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Gentile, Enzo. Rock around the clock: Almanacco del rock, blues, soul, jazz, pop, punk, reggae, rap--. Zelig, 1995.

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group), Led Zeppelin (Musical. Led Zeppelin II. Atlantic, 1994.

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Kochan, Thomas. Den Blues haben: Momente einer jugendlichen Subkultur in der DDR. Lit, 2002.

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Book chapters on the topic "Blues-rock music"

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Headlam, Dave. "Blues Transformations in the Music of Cream." In Understanding Rock. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195100044.003.0003.

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Abstract In 1966, guitarist Eric Clapton joined with bass player Jack Bruce and drummer Ginger Baker to form the rock trio Cream. While Clapton tended toward a style of electric blues close to the Mississippi Delta and Chicago blues songs he venerated, with the combination of Bruce’s elaborate bass lines and Baker’s jazz-influenced drumming Cream quickly became the best known of the original “power trio” blues-based rock bands and prepared the ground for the later group Led Zeppelin to begin the transition from blues-based rock to heavy metal. Cream’s assimilation and transformation of blues s
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Schwartz, Roberta Freund. "Putting the Blues in British Blues Rock." In Transatlantic Roots Music. University Press of Mississippi, 2012. http://dx.doi.org/10.14325/mississippi/9781617032882.003.0008.

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Borthwick, Stuart, and Ron Moy. "Progressive rock: breaking the blues’ lineage." In Popular Music Genres. Routledge, 2020. http://dx.doi.org/10.4324/9781315024561-5.

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"4 Progressive rock: breaking the blues' lineage." In Popular Music Genres. Edinburgh University Press, 2004. http://dx.doi.org/10.1515/9781474428767-007.

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Young, Shawn David. "Popular Music." In The Oxford Handbook of Christian Fundamentalism. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780198844594.013.24.

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Abstract Popular musical styles have been criticized for centuries. Rock ’n’ roll, jazz, the blues, ragtime, even classical music have all come under scrutiny. While the needle of pop culture continues to move, there remains a growing fear from both the right and the left. Both sides of the aisle have acknowledged the immense power of popular music: for conservatives it is a tool for evangelism, and for liberals it can be a voice for social change. Nothing has raised the ire of fundamentalists quite like hot-button topics such as modernism, Darwinism, equal rights, or biblical inerrancy. Excep
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Mattison, Mike, and Ernest Suarez. "The Origins of Poetic Song Verse." In Poetic Song Verse. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496837271.003.0002.

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This chapter considers how verse practices associated with blues-based poetry and music during the first half of the twentieth century helped set the stage for understanding the larger synergy between poetry and rock. The blues’ and the new American poetry of the 1950s and 1960s shared a sense of (sometimes jolting) authenticity that appealed to Bob Dylan and other young songwriters. The chapter discusses how several basic elements in blues music and contemporary poetry combined to make the blues an effective mechanism for poetic expression. Poetry’s turn towards more accessible language and t
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Chapman, Con. "The Blues." In Rabbit's Blues. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0020.

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The chapter discusses the nature of the blues and Johnny Hodges’s place within the genre. Recognized as a master of the blues in his time, he would not be thought of as a blues musician by most listeners today because what is meant by that term has been narrowed over time. Guitar-based blues music has crowded the horn-based variety out of the marketplace since rock ‘n’ roll displaced jazz as the most popular music among America’s youth. A brief history of the evolution of the term blues in American music is provided, along with an explication of the role played by W. C. Handy in popularizing t
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Covach, John. "Progressive Rock, “Close to the Edge,” and the Boundaries of Style." In Understanding Rock. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195100044.003.0001.

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Abstract “Progressive rock;’ “classical rock;’ “art rock;’ “symphonic rock”—these labels have been used over the last twenty-five years by various authors to designate a style of popular music developed in the late 1960s and early 1970s, primarily by British rock musicians.I During this time groups such as King Crimson, the Moody Blues, Proco Harum, the Nice (and later Emerson, Lake, and Palmer), Gentle Giant, Genesis, Yes, Jethro Tull, Van der Graaf Generator, and Deep Purple attempted to blend late-’60s and early-’70s rock and pop with elements drawn from the Western art-music tradition. Thi
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Milward, John. "Introduction." In Americanaland. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043918.003.0001.

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This introductory chapter provides an overview of Americana, which is a genre of music that presumes to include country and western, rock and roll, folk, blues, soul, and bluegrass (among other things). The genre is now more than twenty years old, with its own trade organization (the Americana Music Association was founded in 1999) and Grammy Award category (since 2009). But Americana was happening long before it had a name. The modern history begins with the 1927 recordings of Jimmie Rodgers and the Carter Family. Then Hank Williams twisted a yodel into 1949's “Lovesick Blues,” and Elvis Pres
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O’Connor, Patrick Joseph. "The 1950s." In Wichita Blues. University Press of Mississippi, 2024. https://doi.org/10.14325/mississippi/9781496853011.003.0005.

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Other musical influences were at work in the city in the 1950s: modern jazz, R&amp;B, and rock and roll. White audiences were more open to the integrative forces of music, and the aircraft industry gave workers a fair salary, while taverns and clubs gave a chance to spend it on live music and libation. The three musicians interviewed—only Walker was from out of town—incorporated new sounds into the blues. Childers, on Hammond B-3, moved to California and picked up some West Coast input before returning to Wichita. Mitchell left the city as a teen, finding work in the Harlem in Havana Carnival
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Conference papers on the topic "Blues-rock music"

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Nastas, Natalia, Valeriu Filipov, Igor Arsene, and Ecaterina Lungu. "The methodology efficiency of intensifying the instructional-educational process in the physical education lessons with the help of functional music in doing homework." In The International Scientific Congress "Sports. Olimpysm. Health". SOH 2023. 8th Edition. The State University of Physical Education and Sport, 2025. https://doi.org/10.52449/soh23.38.

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Actuality. The musical support becomes a beneficial and rational factor for carrying out the motor activity. Positive emotions as a result of using music in the activity carried out contribute to a large extent to avoiding the feeling of overfatigue, conditioning the increase in work capacity. The use of functional music as a psycho-pedagogical factor requires students to possess an artistic sense, but also a special training of the physical education teacher. The teacher must be competent in the selection of exercises, music, sports inventory (gymnastics rope, hoop, various weight objects, st
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