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Journal articles on the topic 'Blues-rock music'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

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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O'Hagan, Lauren Alex. "'Rory Gallagher's Leprechaun Boogie': Irish Stereotyping in the International Music Press." Review of Irish Studies in Europe 5, no. 2 (2023): 38–72. http://dx.doi.org/10.32803/rise.v5i2.3099.

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This paper seeks to explore the presence of Irish stereotyping in the international music press using a case study of the Irish blues rock musician Rory Gallagher. Using a dataset of 600 articles about Gallagher published between 1968 and 1998, it draws upon a combination of corpus and thematic analysis to identify frequently occurring Irish stereotypes and how they were used to describe him, embedding arguments in postcolonial theory, particularly the work of Homi K. Bhabha. The analysis identifies five major themes—the Irish as violent troublemakers; the Irish as heavy drinkers; the ‘Irish’

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Blancq, Charles, and Peter Guralnick. "Feel Like Going Home: Portraits in Blues & Rock 'n' Roll." American Music 3, no. 1 (1985): 101. http://dx.doi.org/10.2307/3052128.

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Qin, ShengYang. "Blues Traditions of Guitar Performance in Modern Scientific Idea." Culture of Ukraine, no. 85 (September 25, 2024): 53–61. http://dx.doi.org/10.31516/2410-5325.085.06.

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The relevance of the article. Blues has always been and is still one of the most popular areas of non-academic art in the period from the end of the XIX century. However, after the Second World War, the blues tradition began to be actively assimilated against the background of other stylistic trends and subcultures. In this regard, the interest of modern scientists in blues specificity, which has become an important component of many modern musical phenomena, not only increased, but also expanded the perspectives of research. Starting from the second half of the XX century, blues traditions ga

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Tsebrii, I., and Y. Dudnyk. "THE IMAGE OF JAZZ IN UKRAINIAN POPULAR MUSIC AND THE SIGNIFICANCE OF SUBCULTURES IN IT." Philosophical Horizons, no. 48 (July 31, 2024): 70–80. http://dx.doi.org/10.33989/2075-1443.2024.48.308072.

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The image of jazz in Ukrainian pop music is reproduced, the subcultures that dominate its modern manifestations are shown: African music, Irish-European melodies and rhythms, the interaction between pop music and folklore, a diametrically symmetrical structure, the appropriate composition of variable phrases (voice-instrument), various combinations of timbre acoustic electronics, a fusion of Ukrainian folklore and rock music. But, first of all, it is a harmonious combination of Afro-European traditions with Ukrainian folklore, its best examples. The article also talks about the leading masters

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Cross, Rod. "Pop Music in the Middle School – Some Considerations and Suggestions." British Journal of Music Education 5, no. 3 (1988): 209–16. http://dx.doi.org/10.1017/s026505170000663x.

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Most young people these days enjoy listening to music. It may well be their main interest and one of their favourite pastimes. Some may express a preference for classical music, others for minority interests, such as folk, country, blues, jazz, or big band. For the vast majority, however, it is likely that their taste will be partly, if not exclusively, for pop, i.e. that brand of music which originated with Bill Haley'1956 recording of ‘Rock Around The Clock’, and which now applies to all music loosely associated with the Top Forty charts. In this article the author describes a course, with 1

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Bannister, Matthew. "Joker to the thief: Trickster guitarists in 1970s stadium rock." Metal Music Studies 9, no. 2 (2023): 151–69. http://dx.doi.org/10.1386/mms_00103_1.

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How and why did the lead guitarist as trickster become a trope of 1970s stadium rock? Rock and roll and its interpretation were influenced by blackface minstrelsy, African American Signifying, and European traditions of foolery, all featuring quasi-demonic, protean figures who amuse, challenge, subvert, shock, but from the margins – eternally shifty, ambiguous antagonists who ‘play’ on paradoxes of rock mythology: (non-)conformity, (in)articulacy and power(lessness). In the increasingly theatrical, spectacular arena of 1970s stadium/hard rock/metal, the trickster guitarist signified as part of

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Herbst, Jan-Peter. "Distortion and Rock Guitar Harmony." Music Perception 36, no. 4 (2019): 335–52. http://dx.doi.org/10.1525/mp.2019.36.4.335.

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Research on rock harmony accords with common practice in guitar playing in that power chords (fifth interval) with an indeterminate chord quality as well as major chords are preferred to more complex chords when played with a distorted tone. This study explored the interrelated effects of distortion and harmonic structure on acoustic features and perceived pleasantness of electric guitar chords. Extracting psychoacoustic parameters from guitar tones with Music Information Retrieval technology revealed that the level of distortion and the complexity of interval relations affects sensorial pleas

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Prasetya, Putu Rikky Mahendra, and Gst Ayu Vida Mastrika Giri. "Comparison of Use of Music Content (Tempo) and User Context (Mood) Features On Classification of Music Genre." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 8, no. 2 (2020): 191. http://dx.doi.org/10.24843/jlk.2019.v08.i02.p11.

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The development of technology in the current era in the field of multimedia, music is not just entertainment or pleasure. Nowadays, online music growth is greatly increasing, namely, music can be classified by genre. The music genre is the grouping of music according to their resemblance to each other. In previous studies, the system was built with Naive Bayes Classifier which is useful for predicting songs based on the lyrics of the song. In our study, we used a dataset that was divided into several genera, namely Blues, Electronic, R & B, Christian, Hip Hop / Rap, Rock, Country, Jazz, Sk

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Condit-Schultz, Nathaniel, and David Huron. "Catching the Lyrics." Music Perception 32, no. 5 (2015): 470–83. http://dx.doi.org/10.1525/mp.2015.32.5.470.

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Although purely instrumental music is commonplace, much of the world’s most popular music is sung with lyrics. However, it is evident that listeners don’t always attend to lyrics and that those who do aren’t always successful in deciphering them. An empirical study is reported whose goal is to measure the intelligibility of lyrics in commercial recordings of music from a variety of genres. Thirty participants were exposed to 120 brief musical excerpts from twelve song genres: Avante-garde, Blues, Classical, Country, Folk, Jazz, Musical Theater, Pop/Rock, Rhythm and Blues, Rap, Reggae, and Reli

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Kumar, Lalit. "Rock Music and The Political Scripting of Vietnam War: Reading Dispatches by Michael Herr." IAFOR Journal of Arts & Humanities 11, no. 2 (2024): 156–67. https://doi.org/10.22492/ijah.11.2.11.

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Projections regarding the Vietnam War were articulated through various forms of representation. In 1960s America, a countercultural movement centered on country-folk music emerged and thrived as an alternative to mainstream nationalist music. Folk music evolved into folk-rock and ultimately into “rock and roll,” carrying distinct political and psychological messages that resonated with the collective conscience through diverse narratives and personas. The Vietnam War significantly influenced music production across genres, including the adoption of rock music by South Vietnamese bands, as obse

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Tamatjita, Nurmiyati, and Agus Harjoko. "Klasifikasi Lagu Berdasarkan Genre pada Format WAV." IJCCS (Indonesian Journal of Computing and Cybernetics Systems) 10, no. 1 (2014): 145. http://dx.doi.org/10.22146/ijccs.6542.

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AbstrakDalam dunia yang berkembang pesat, media audio semakin komplek. Karena itulah diperlukan sebuah mekanisme penentuan jenis lagu (genre) yang tepat secara efektif dan efisien. Pencarian secara manual sudah tidak efektif dan efisien lagi karena banyaknya data yang tersimpan. Zero Crossing Rate (ZCR), Average Energy (E) dan Silent Ratio (SR) adalah 3 Feature Extraction yang digunakan untuk klasifikasi pencarian 12 genre.Tiga dimensi adalah bentuk visualisasi pengukuran tingkat kemiripan sebuah data berdasarkan hasil klasifikasi yang diinput oleh user. Dalam penelitian ini pengujian klasifik

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22

Ford, Charles. "Robert Johnson's rhythms." Popular Music 17, no. 1 (1998): 71–93. http://dx.doi.org/10.1017/s0261143000000490.

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Robert Johnson's 1936–37 recordings are widely held to have consummated the Delta blues style, and to have provided one of the very few pre-war influences on rock. Yet it is his pathetic life and the occasional metaphysical imagery of his lyrics that have commanded critical attention. Consequently we have as yet still to discover what precisely makes his music take on such historical significance. It seems to me that two features of Johnson's music demand our attention: first, his inflections of pitch and timbre; second, his irregular, and often syncopated, metres. This article scrutinises, an

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Larkey, Edward. "Austropop: popular music and national identity in Austria." Popular Music 11, no. 2 (1992): 151–85. http://dx.doi.org/10.1017/s0261143000004980.

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The diffusion of rock and popular music from the US and British mass entertainment industries since the 1950s has had a profound impact on the music traditions world-wide. Several generations of youth have been socialised to the musical accompaniment of rock and roll music of the 1950s, the ‘beat music’ of the 1960s, the so-called ‘psychedelic’ or ‘underground’ rock music of the 1970s, disco, punk and new wave music in the 1970s and 1980s. It has resulted in the transplantation of these ‘foreign’ styles into music cultures with small groups of fan communities for rock and roll, country and wes

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CATEFORIS, THEO. "Popular Music and Jazz, 1950–Present." Journal of the Society for American Music 9, no. 4 (2015): 505–12. http://dx.doi.org/10.1017/s1752196315000449.

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The coverage of post-1950 popular music and jazz in the second edition of The Grove Dictionary of American Music (hereafter referred to as the AmeriGrove II) is truly impressive in its range and scope. AmeriGrove II gives substantial space to a variety of styles ranging from rhythm and blues and rock to country and hip hop, a nod not only to the tremendous impact they have had on the making and consumption of U.S. music in recent decades, but also to the explosion in popular music scholarship witnessed in organizations like the International Association for the Study of Popular Music and the p

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Ayush, Kishore Mishra, Kumar Singh Divyansh, and Khare Ankit. "Music genre detection using deep learning models." i-manager's Journal on Information Technology 11, no. 2 (2022): 10. http://dx.doi.org/10.26634/jit.11.2.18800.

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An automated music classification system is that automates the entire process of music classification, i.e., classifying music without any human intervention. Along with this, it is very important to have a good recommendation system that will help with features such as music classification. This paper proposes an automated music classification system that will be very useful for both informational and entertainment purposes in the field of music. This system, based on a musicrelated Artificial Intelligence (AI) algorithm, automatically categorizes different types of music corresponding to dif

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Sutton, Matthew. "The Burden of Racial Innocence: British-Invasion Rock Memoirs and the U.S. South." European Journal of Life Writing 11 (April 21, 2022): 21–40. http://dx.doi.org/10.21827/ejlw.11.38627.

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Mid-sixties British rock musicians have rationalized their firsthand experience and profitable interactions with American racial segregation by adopting a stance of racial innocence, or a belief that youth and virtue make one immune to charges of complicity with organized structures of racism. This almost childlike subject-positioning disingenuously separates musicians’ expertise on African American blues from a more mature acknowledgement of the oppressive racial conditions that shaped the music, implicitly excluding them from culpability in the continued imbalance of power between black and

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Gago, E., A. Alves, M. Santos, and A. Ribeiro. "Can’t take that song out of my mind… impact of psychiatry in music." European Psychiatry 26, S2 (2011): 456. http://dx.doi.org/10.1016/s0924-9338(11)72163-0.

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IntroductionAs Aldoux Huxley said in his essay Music at Night (1931) ”After silence, that which comes nearest to expressing the inexpressible is music.”Music has always played an important role in knowledge and communication among different cultures and it plays a very important role in young people culture, transmitting their worries and interests. The music world, especially rock, jazz and blues, has been related to drugs and alcohol. Themes related to drug and alcohol abuse and other mental disorders are frequent in the contents of songs, titles and even in the names of bands.ObjectivesThe

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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 th

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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

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Vella, Elizabeth J., and Gregory Mills. "Personality, uses of music, and music preference: The influence of openness to experience and extraversion." Psychology of Music 45, no. 3 (2016): 338–54. http://dx.doi.org/10.1177/0305735616658957.

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The purpose of this study was to ascertain whether uses of music partially mediate the link between personality and music preference. Undergraduate students ( N = 122) completed the following scales: The Brief Big Five Inventory, The Uses of Music Inventory, The Short Test of Music Preference, The Life Orientation Test Revised, The Beck Depression Inventory, and the Perceived Stress Scale. Openness to experience positively predicted preferences for reflective-complex (RC; e.g., jazz/blues) and intense-rebellious (IR; e.g., rock/metal) music and was inversely related to upbeat-conventional (UC;

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McKnight, Mark, Chuck Mancuso, Dave Lampe, and Reg Gilbert. "Popular Music and the Underground: Foundations of Jazz, Blues, Country, and Rock, 1900-1950." Notes 54, no. 2 (1997): 494. http://dx.doi.org/10.2307/899551.

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Scott, E. K. Ellington, and Jonas Braasch. "Computational aspects of real-time auralizations of jazz venues." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A280. http://dx.doi.org/10.1121/10.0023524.

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Historically, architectural acoustics has focused on concert halls for European Classical music, even though other genres, including rock, blues, and Jazz, have large groups of followers as well. Additionally, the acoustic requirements for European Classical music differ fundamentally from Jazz and other music. For example, Jazz venues are typically smaller and dryer than a traditional European Classical concert hall. A recent survey showed that reverberation in these venues plays a secondary role to parameters that describe the affordance of a space to allow communication between improvising

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Dr, Divya Sharma. "Rock & Roll: A Discourse of "'Rethink' of the Dualism of the Centre and the Margin"." VEDA'S JOURNAL OF ENGLISH LANGUAGE AND LITERATURE (JOELL) An International Peer Reviewed Journal 5, no. 2 (2018): 78–95. https://doi.org/10.5281/zenodo.6527217.

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Within the politics of the systematic subversion of subordinate through the logic of domination within the ontological divide African American women artists’ music emerges as a resistance mechanism at subverting the culture/nature Cartesian dualism initiating a discourse of “rethink” of the dualism of “the centre” and “the margin,” thwarting the myth of the “Otherness” in turn liberating the other, and implicitly all such “Other” groups through the celebration of the associative interconnectivity across these marginal groups. Th

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Lecker, Robert. "Music in Michael Ondaatje’s Divisadero." Journal of Commonwealth Literature 54, no. 2 (2017): 273–91. http://dx.doi.org/10.1177/0021989417696123.

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Michael Ondaatje’s Divisadero uses musical references to enhance our understanding of how the story’s characters inhabit time and place. The book’s three parts unfold against a varied musical backdrop that can be experienced as a kind of soundtrack. Although musical allusions appear in Ondaatje’s earlier work, Divisadero is marked by its range of musical references, which run from classical compositions to jazz, opera to rock ’n’ roll, reggae to blues and British new wave. This article examines the way music directs us to see different narrative options in each of the novel’s three parts. One

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Mabry, Donald J. "The Rise and Fall of Ace Records: A Case Study in the Independent Record Business." Business History Review 64, no. 3 (1990): 411–50. http://dx.doi.org/10.2307/3115735.

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The record industry in the United States was controlled until the 1950s by a half dozen major companies, which produced music directed primarily toward the white middle class. The following article uses the history of Ace Records, a small, regional, independent company, to examine the nature of the record industry in the 1950s and 1960s. The article explains the shifts in demography and technology that made possible the growth of the independents, as well as the obstacles and events that made their demise more likely. It also traces the changes that such companies, by recording and promoting r

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WEISETHAUNET, HANS. "Is there such a thing as the ‘blue note’?" Popular Music 20, no. 1 (2001): 99–116. http://dx.doi.org/10.1017/s0261143001001337.

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Among the most frequently repeated formulae in the description of the traditions most often called Afro-American music, in particular the styles of jazz, blues, soul and rock, is the concept of the `blue note’. It may also seem that this is a most widely accepted idea. The ‘blue note’ is usually thought of as a kind of basic element in those styles, as constituting the `ethnic’ or ‘African’ aspect of those musics as opposed to the ‘Western’ contributions of harmony.My main attempt here is to step into the somewhat muddy waters of musicological and sociological/anthropoligical/ cultural studies

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Rapetti, Valentina. "Singing back to the Bard: A conversation on Desdemona with Rokia Traoré." Journal of Adaptation in Film & Performance 13, no. 3 (2020): 337–44. http://dx.doi.org/10.1386/jafp_00035_7.

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Rokia Traoré is a Malian singer, guitarist and composer, known worldwide for her artistic syncretism and political activism. Her distinctive style blends elements of traditional Malian music with blues, folk and rock to address contemporary geopolitical and humanitarian issues. She is the artistic director of Fondation Passerelle, a non-profit organization she founded in 2006 to support young African singers and musicians by offering them high-quality professional training and work opportunities in the music industry. In this interview, she discusses her experience as songwriter and performer

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Celeste, L. Aglipay, D. Evangelista Ivy, C. Sones Mikaela, and P. Panaligan Lourdes. "Exploring the Benefits and the Characteristics of Selected Genres of Music." Journal of Education and Technology Management 1, no. 1 (2018): 49–57. https://doi.org/10.5281/zenodo.2814885.

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This study specifically described the profile of the respondents in terms of age, gender and grade level; identified the importance of music; determined the level of awareness on the different genres of music; and tested the significant difference in the level of awareness when grouped according to profile variables. Three hundred five (305) respondents participated in the study. Fifteen to sixteen respondents of each grade level (Grade 7, 8, 9 and 10) and 20 teachers participated in the study. Result showed that music provides a sense of achievement, happiness, and satisfaction to the respond

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Ivanov, Andrey G. "Train metaphor in the blues: Attributive characteristics of the genre and a means of time mythologization." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 53 (2024): 149–61. http://dx.doi.org/10.17223/22220836/53/12.

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The article shares the cognitive approach to metaphor and shows its connection with the theory of basic (root) metaphors of S. Pepper, with the metaphor of the path, with the monomyph of J. Campbell. The author, based on the assumption that the basic (root) metaphors can be associated with archetypal mythological plots, considers the train metaphor as one of the derivatives of the path metaphor, correlating with the journey of the mythological hero. A concrete example shows how the train metaphor becomes temporal: in the course of its evolution, the train metaphor, initially associated mainly

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Lester, Charles. "“They’ve Taken It All Away. The Only Thing Here Is Me”." Public Historian 39, no. 2 (2017): 58–81. http://dx.doi.org/10.1525/tph.2017.39.2.58.

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In the 1940s and 1950s, Cincinnati’s King Records promoted and recorded artists from a variety of genres including country, rhythm and blues, jazz, and gospel and in doing so paved the way for the emergence of rock ‘n’ roll. In addition to its notable contributions to American music and culture, the company served as a model for integration. The King story is more than worthy of local and national recognition, and in the last couple of decades activists, preservationists, and public historians have attempted a number of initiatives to honor the label’s impact on American society and culture, t

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Lorre, Sean. "Rhythm and Bluebeat." Journal of Popular Music Studies 31, no. 3 (2019): 95–118. http://dx.doi.org/10.1525/jpms.2019.313010.

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Retrospectively referred to as blue beat, “Jamaican rhythm and blues” (JA-R&B) was one of many R&B styles performed and consumed in the UK during the early 1960s. Despite the genre’s importance to African-Caribbean migrant communities, urban subcultures, and, eventually, mainstream British popular music, JA-R&B is often relegated to a side note in the histories of Jamaican ska/reggae and British blues. This essay recuperates the production, emulation, consumption and mediation of JA-R&B into a broader narrative of the British R&B boom, a phenomenon often understood as a pre

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Ilyasa, Achmad Naufal. "Pengembangan Aplikasi Klasifikasi Sepuluh Genre Musik." KALBISIANA Jurnal Sains, Bisnis dan Teknologi 10, no. 4 (2024): 388–94. https://doi.org/10.53008/kalbisiana.v10i4.633.

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This study aims to classify music by genre, which is used to group music by genre to make it easy to search. The data used audio data and then converted into melspectogram images of 10,000 data divided into ten genres. They are blues, classical, country, disco, hiphop, jazz, metal, pop, reggae dan rock. The data validation using the split test with the training and testing data ratio is 9:1. The method used in this study is a Convolution Neural Network (CNN) using the Tensorflow Keras library. This study conducted experiments with three different architectural models to compare and find the be

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Rossi, Chiara, Barbara Colombo, Francesca De Salve, and Osmano Oasi. "Musical Preferences and Personality Traits." Music Perception: An Interdisciplinary Journal 42, no. 2 (2024): 124–34. http://dx.doi.org/10.1525/mp.2024.42.2.124.

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Music resonates differently in every single person according to human culture and characteristics. Individual differences such as personality traits may play a key role in modulating the emotional response to music and yet relatively little is known about the underlying structure of Italian musical preferences. On these bases, the current research presents a replication of the structure of the MUSIC Model and examines its relationships with personality traits. A sample of 2,104 participants completed an online survey. The current study is divided into three parts: 1) an exploratory factor anal

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Tobolewski, Jan, Michał Sakowicz, Jordi Turmo, and Bożena Kostek. "A Bimodal Deep Model to Capture Emotions from Music Tracks." Journal of Artificial Intelligence and Soft Computing Research 15, no. 3 (2025): 215–35. https://doi.org/10.2478/jaiscr-2025-0011.

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Abstract This work aims to develop a deep model for automatically labeling music tracks in terms of induced emotions. The machine learning architecture consists of two components: one dedicated to lyric processing based on Natural Language Processing (NLP) and another devoted to music processing. These two components are combined at the decision-making level. To achieve this, a range of neural networks are explored for the task of emotion extraction from both lyrics and music. For lyric classification, three architectures are compared, i.e., a 4-layer neural network, FastText, and a transforme

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Stewart, Alexander. "‘Funky Drummer’: New Orleans, James Brown and the rhythmic transformation of American popular music." Popular Music 19, no. 3 (2000): 293–318. http://dx.doi.org/10.1017/s0261143000000180.

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The singular style of rhythm & blues (R&B) that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel (12/8) to even or straight eighth notes (8/8). Many jazz historians have shown interest in the process whereby jazz musicians learned to swing (for example, the Fletcher Henderson Orchestra through Louis Armstrong's 1924 arrival in New York), but there has been little an

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Wang, Claire, Mengchi Li, and Junxin Li. "EXPERIENCES OF MUSIC LISTENING AMONG OLDER ADULTS WITH MILD COGNITIVE IMPAIRMENT." Innovation in Aging 8, Supplement_1 (2024): 527–28. https://doi.org/10.1093/geroni/igae098.1725.

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Abstract Emerging research highlights the cognitive benefits of music listening for older adults. The nuances of these effects, particularly concerning musical features like tempo, memorability, lyrics, and genre, remain underexplored especially among those with mild cognitive impairment (MCI). This mixed-methods study, nested within a randomized controlled crossover trial, explored these features through assessments of participants’ musical experience (Assessment of Personal Abductive Preference and Goldsmiths Musical Sophistication Index) at baseline and semi-structured interviews following

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Park, Sihun, Chanbeom Kwak, and Woojae Han. "Effect of Background Music for Attentive Concentration in Working." Audiology and Speech Research 16, no. 3 (2020): 188–95. http://dx.doi.org/10.21848/asr.200044.

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Purpose: Recently, many young people have preferred to work in café than traditional library because the café is equipped with coffee, music, and cozy seats. When working in the café, whether listeners’ attentive concentration could be affected by a kind of the background music needs to be investigated as the purpose of the present study. We also aimed to confirm the attentive concentration of listeners might be caused by their music inclination.Methods: A total of ninety young adults was randomly assigned as five kinds of background music [e.g., rhythm and blues (R&B)/ballad, dance/rock,

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Song, Rui, Saeid Motevalli, and Yuezhi Zhou. "Melodic Movements: The Role of Music in Shaping Sport Performance and Psychological Responses." International Sports Studies 46, no. 2 (2024): 96–124. https://doi.org/10.69665/iss.v46i2.24.

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The application of music in sport can enhance training and competition performance. This study explored the effects of different music genres on students' emotional, psychological, and athletic performance. Motivational music (e.g., blues, jazz, classical) has reflective and complex qualities, with a tempo of 60-80 beats per minute; high-tempo music (e.g., rock, heavy metal, alternative) has intense and rebellious characteristics, with a tempo of 120-140 beats per minute; upbeat music (e.g., pop music, New German Wave), film music, and popular German music have cheerful and traditional qualiti

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Kwieciński, Wojciech. "Załamanie kariery artystycznej Miry Kubasińskiej." UR Journal of Humanities and Social Sciences 23, no. 2 (2022): 58–72. http://dx.doi.org/10.15584/johass.2022.2.4.

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Mira Kubasińka (1944–2005) was one of the most charismatic vocalists of the Polish pop-music scene in the 1960s and 1970s. She achieved great success with the Breakout group and the status of a big-beat music star in Poland. Kubasińska’s unquestionable assets were naturalness and freedom of artistic expression. She had interesting vocal qualities, an impeccable sense of rhythm and a rare ability to shape the musical phrase. The pieces she performed were emotionally charged and stressed her extraordinary interpretative skills. The most important achievements of Kubasińska are the albums release

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Bizhanova, Kenzhegul, Bakyt Arinova, Gulshat Akbayeva, and Aiym Massimbayeva. "Youth Identity Development on the Basis of Traditional Kazakh Folk Music." Folklore: Electronic Journal of Folklore 93 (August 2024): 79–104. http://dx.doi.org/10.7592/fejf2024.93.kazakh_youth.

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This study strived to determine the most popular music genre among young Kazakhs in the context of personal, social, and national identity development, specify the relationship between musical preferences and personality type, and disclose the level of influence of traditional Kazakh folk music on the identity of the Kazakh youth. The authors conducted a survey and a test by taking advantage of such research methods as sociological survey, statistical analysis, social phenomena cognition (assessment, analogy tracking, comparison), psychological and typological concepts of Jung, as well as Abul

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