Relevant bibliographies by topics / Folk-rock music – texts

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Academic literature on the topic 'Folk-rock music – texts'

Author: Grafiati
Published: 26 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Folk-rock music – texts"

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Heinonen, Yrjö. "Finno-Ugric Rune Song Tradition Revisited: A Critical Discourse Analysis of Värttinä's "Äijö"." Articles 25, no. 1-2 (2012): 138–70. http://dx.doi.org/10.7202/1013309ar.

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Contemporary Finnish folk music, unlike internationally successful contemporary Finnish rock (HIM, Nightwish, The Rasmus), transmits Finnish and Finno-Ugric tradition in a reinterpreted form to international audiences. This article explores this transmission through a case analysis of Äijö, a song by Värttinä, "the brand name" of Finnish World Music. Critical Discourse Analysis (CDA) provides a unified framework, which allows for tan examination of how different folk music traditions and the practices of Western popular music have been used in Äijö. The data with which this research was undert
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Yri, Kirsten. "Corvus Corax: medieval rock, the minstrel, and cosmopolitanism as anti-nationalism." Popular Music 38, no. 03 (2019): 361–78. http://dx.doi.org/10.1017/s0261143019000229.

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AbstractThis article explores the German band Corvus Corax and their reinterpretion of the Middle Ages as a creative answer to Germany's problematic history of nationalism. Invoking the community ideals and ideological values of the 1960s and 1970s, which, in the context of the GDR took on even more significance, Corvus Corax borrowed ‘authentic’ medieval texts and melodies, rendering them in acoustic arrangements inspired by medieval performance practices. In short, German ‘folk’ bands invented ‘medieval’ rock to sidestep Nazi connotations with the word ‘folk’. Besides invoking the semantic s
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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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Gusāns, Ingars. "CHARACTERISTICS OF LATGALIAN POPULAR MUSIC (2005–2016)." Via Latgalica, no. 10 (November 30, 2017): 113. http://dx.doi.org/10.17770/latg2017.10.2768.

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Looking at the events of the last decade in the life of Latgalian popular music, there may be twofold feelings; one will feel that in the field of popular music life is in full swing; another will feel that everything is stunted and hopeless. The purpose of the research is to describe the situation of Latgalian popular music (success, problems) between 2005 and 2016. The object of the research is Latgalian groups and performers. In the given study, the concept of the popular Latgalian music is presented, which includes pop music, rock music, jazz, rap, and other styles of popular music that ma
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Gradowski, Mariusz, and Przemysław Piłaciński. "Research on Popular Music conducted at the Institute of Musicology of the University of Warsaw in 1953–2015." Musicology Today 13, no. 1 (2016): 88–105. http://dx.doi.org/10.1515/muso-2016-0001.

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Abstract The article presents a survey of research on popular music carried out at the Institute of Musicology, University of Warsaw. It discusses the contents of valuable studies undertaken at the Institute but still unpublished and kept at the Library of the Institute of Musicology. The authors’ aim has been to facilitate the exchange of ideas with other musicological centres conducting research on popular music, as well as providing other musicologists and scholars working in the field with an overview the research undertaken to date. Popular music will be defined here as music composed in
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Gusāns, Ingars. "CULTURAL SIGNS IN TEXTS OF LATGALIAN BANDS." Via Latgalica, no. 8 (March 2, 2017): 139. http://dx.doi.org/10.17770/latg2016.8.2236.

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During ten years, since Latgalian popular music has returned to the mainstream Latvian music stage, 44 Latgalian music albums have been released. The lyrics of these songs are written by musicians, Latgalian and Latvian poets and as a result of teamwork of poets and music authors. The subject of the present research is represented by cultural signs in the song texts of Latgalian bands; the research object is song lyrics of Latgalian bands. Sources selected for the research are the song texts of Latgalian bands and performers: "Borowa MC", "Bez PVN", "Dabasu Durovys", "Green Novice", Laura Bicā
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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiari
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Szabó, Norbert, Fanni Földi, Tun Zaw Oo, Gábor Csizmadia, and Krisztián Józsa. "Musical Preferences among Students Aged 9–19: A Study on Musical Genres and Styles." Education Sciences 14, no. 3 (2024): 290. http://dx.doi.org/10.3390/educsci14030290.

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This study aimed to explore students’ musical genre preferences, exploring variations across gender and age groups in Hungary. Additionally, we investigated the relationships among the popularity of musical genres and connections between musical programs and related activities. With the help of stratified sampling, we examined the opinions of students aged 9–19 about each genre (N = 1159) using specific musical examples. In this study, musical genres were classified into four main types based on related music videos, including classical popular music (CPM), rock music (RM), classical art music
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Kuzmina, O. A. "“The House That Jack Built” by Jessie L. Gaynor as an example of an English language operetta for children." Aspects of Historical Musicology 15, no. 15 (2019): 231–49. http://dx.doi.org/10.34064/khnum2-15.12.

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Background. The children’s opera in all its diversity has undergone a rapid path to its formation and development, responding to changes in the art and aesthetic space of musical culture. The active being and the practical use of this phenomenon only emphasize the gaps in musicology science more acutely. Some researchers combine with the notion of «children’s opera» both works that involve children to participate in the performing process, and those which are aimed at a certain age audience. Other authors put the term «opera for children» as universal, but use it to describe various works. How
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Gibson, Chris. "On the Overland Trail: Sheet Music, Masculinity and Travelling ‘Country’." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.82.

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Introduction One of the ways in which ‘country’ is made to work discursively is in ‘country music’ – defining a genre and sensibility in music production, marketing and consumption. This article seeks to excavate one small niche in the historical geography of country music to explore exactly how discursive antecedents emerged, and crucially, how images associated with ‘country’ surfaced and travelled internationally via one of the new ‘global’ media of the first half of the twentieth century – sheet music. My central arguments are twofold: first, that alongside aural qualities and lyrical cont
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Books on the topic "Folk-rock music – texts"

1

Dylan, Bob. Lyrics, 1962-1985. 2nd ed. Knopf, 1985.

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Dylan, Bob. Lyrics, 1962-1985. HarperCollins Publishers, 1988.

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Morning Glory on the Vine: Early Songs and Drawings. Canongate Books, 2019.

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Morning Glory on the Vine: Early Songs and Drawings. Houghton Mifflin Harcourt Trade & Reference Publishers, 2019.

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(Editor), Ruby Pickens Tartt, Jack Solomon (Editor), and Olivia Solomon (Editor), eds. Honey in the Rock: The Ruby Pickens Tartt Collection of Religious Folk Songs from Sumter County, Alabama. Mercer University Press, 1992.

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Mitchell, Joni. Morning Glory on the Vine: Early Songs and Drawings. Canongate Books, 2019.

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Dylan's Daemon lover: The tangled tale of a 450-year old pop ballad. Helter Skelter, 1999.

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8

Rock: The Primary Text : Developing a Musicology of Rock (Ashgate Popular and Folk Music Series) (Ashgate Popular and Folk Music Series) (Ashgate Popular and Folk Music Series). 2nd ed. Ashgate Pub Ltd, 2001.

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Church, Joseph. Rock in the Musical Theatre. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190943462.001.0001.

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Rock ’n’ roll music and its offshoots, including pop, hard rock, rap, r&b, funk, folk, and many others, have become the standard language of today’s musical theatre. Theatre singers, performers, and coaches need a source of information on these styles, their origins, and their performance practices. Rock in the Musical Theatre: A Guide for Singers fills this need. Today’s musical theatre training programs are now including rock music in their coursework and rock songs and musicals in their repertoires. This is a text for those trainees, mentors, courses, and productions. It will also be of
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Moore, Allan F. Rock: The Primary Text : Developing a Musicology of Rock (Ashgate Popular and Folk Music Series). 2nd ed. Ashgate Publishing, 2002.

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Book chapters on the topic "Folk-rock music – texts"

1

Milward, John. "Punks, God, and Urbane Cowboys." In Americanaland. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043918.003.0014.

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This chapter examines how popular music began to splinter during the 1970s, with the rise of punk rock and disco reflecting the increased bifurcation of the mass audience. Punk rock was a conscious response to the slick professionalism of popular bands like the Eagles and Fleetwood Mac. Though the musical elements of punk can be traced from Chuck Berry and rockabilly through such 1960s rock bands as the Who and the Rolling Stones, the music pointedly embraced politics, anger, and irony. British punk met Americana when singer-songwriter Joe Ely from Lubbock, Texas, toured with the Clash. The un
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Jones, Christine Hand. "The Day the Music Lived." In Rags and Bones. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496842978.003.0003.

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Christine Hand Jones analyzes the text and music of both The Band’s and Bob Dylan’s work, before and after their time together, giving a glimpse into the influence each artist had on the other. Jones suggests that, following Dylan’s motorcycle accident in 1966, both Dylan and The Band were primed to experiment with their music. Music from Big Pink specifically signals “The Band’s independence from their famous friend and mentor [Bob Dylan],” yet “his influence—even when uncredited—is palpable.” Both musicians merged blues, country, rock, and folk influences, along with “biblical imagery and me
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Limón, José E. "Al Norte toward Home." In The Latina/o Midwest Reader, edited by Omar Valerio-Jiménez, Santiago Vaquera-Vásquez, and Claire F. Fox. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041211.003.0003.

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This essay traces the cultural connections between Mexican American in Texas and those in the Midwest. Beginning with the famous cattle drives from Texas to the Midwest in the mid-nineteenth century and the musical genre of the corrido to folk healing, contemporary rock music, and fiction, these two seemingly distinct communities created cultural linkages that helped them struggle against adversity in a manner best understood as an example of critical regionalism as developed by Kenneth Frampton, Fredric Jameson and Cheryl Herr.
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