Academic literature on the topic 'Guitar music (Rock)'
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Journal articles on the topic "Guitar music (Rock)"
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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 pleasantness. A listening test demonstrated power and major chords being perceived as significantly more pleasant than minor and altered dominant chords when being played with an overdriven or distorted guitar tone. This result accords with musical practice within rock genres. Rather clean rock styles such as blues or classic rock use major chords frequently, whereas subgenres with more distorted guitars such as heavy metal largely prefer power chords. Considering individual differences, electric guitar players rated overdriven and distorted chords as significantly more pleasant. Results were ambiguous in terms of gender but indicated that women perceive distorted guitar tones as less pleasant than men. Rock music listeners were more tolerant of sensorial unpleasant sounds.
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FIORE, GIACOMO. "Reminiscence, Reflections, and Resonance: The Just Intonation Resophonic Guitar and Lou Harrison's Scenes from Nek Chand." Journal of the Society for American Music 6, no. 2 (2012): 211–37. http://dx.doi.org/10.1017/s1752196312000041.
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AbstractUpon accepting a commission for a solo guitar piece from the 2002 Open Minds Music Festival in San Francisco, Lou Harrison decided to write Scenes from Nek Chand for a unique instrument: a resonator guitar refretted in just intonation. Harrison's last completed work draws inspiration from the sound of Hawaiian music that the composer remembered hearing in his youth, as well as from the artwork populating Nek Chand's Rock Garden of Chandigarh, India.Based on archival research, oral histories, and the author's insights as a performer of contemporary music, this article examines the piece's inception, outlining the organological evolution of resophonic guitars and their relationship to Hawaiian music. It addresses the practical and aesthetic implications of the composer's choice of tuning, and examines the work of additional artists, such as Terry Riley and Larry Polansky, who have contributed to the growing repertoire for the just intonation resophonic guitar.
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Schwartz, Jeff. "Writing Jimi: rock guitar pedagogy as postmodern folkloric practice." Popular Music 12, no. 3 (1993): 281–88. http://dx.doi.org/10.1017/s0261143000005729.
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Most instruction in electric guitar, bass guitar, drums and electronic keyboards is conducted on a one-to-one basis by uncertified, independent teachers. The lessons are face-to-face, and based on the student's imitation of the teacher's example. Popular music education is a ‘little tradition’ (in comparison to school music departments) and largely an oral one, thus meeting the usual criteria of folk cultures.
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Jameson, Ben. "‘ROCK SPECTRALE’: THE CULTURAL IDENTITY OF THE ELECTRIC GUITAR IN TRISTAN MURAIL'S vampyr!" Tempo 69, no. 274 (2015): 22–32. http://dx.doi.org/10.1017/s0040298215000340.
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AbstractThe electric guitar is one of the most iconic musical instruments of the twentieth and twenty-first centuries and, due to its ubiquitous use in much rock and popular music, it has developed a strong cultural identity. In recent years, as the electric guitar has become increasingly common in contemporary concert music, its cultural associations have inevitably shaped how composers, performers and listeners understand music performed on the instrument. This article investigates various issues relating to the electric guitar's cultural identity in the context of Tristan Murail's Vampyr! (1984), in the hope of demonstrating perspectives that will be useful in considering new music for the electric guitar more generally. The article draws both on established analytical approaches to Murail's spectral oeuvre and on concepts from popular music and cultural studies, in order to analyse the influence that the electric guitar's associations from popular culture have in new music.
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Cooper, B. Lee. "Heroes: Giants of Early Rock Guitar." Popular Music and Society 33, no. 2 (2010): 282–84. http://dx.doi.org/10.1080/03007760903498067.
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BANNISTER, MATTHEW. "‘Loaded’: indie guitar rock, canonism, white masculinities." Popular Music 25, no. 1 (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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MILLER, KIRI. "Schizophonic Performance: Guitar Hero, Rock Band, and Virtual Virtuosity." Journal of the Society for American Music 3, no. 4 (2009): 395–429. http://dx.doi.org/10.1017/s1752196309990666.
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AbstractThis article addresses Guitar Hero and Rock Band gameplay as a developing form of collaborative, participatory rock music performance. Drawing on ethnomusicology, performance studies, popular music studies, gender and sexuality studies, and interdisciplinary digital media scholarship, I investigate the games' models of rock heroism, media debates about their impact, and players' ideas about genuine musicality, rock authenticity, and gendered performance conventions. Grounded in ethnographic research—including interviews, a Web-based qualitative survey, and media reception analysis—this article enhances our understanding of performance at the intersection of the “virtual” and the “real,” while also documenting the changing nature of amateur musicianship in an increasingly technologically mediated world.
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Jenson, Jen, Suzanne De Castell, Rachel Muehrer, and Milena Droumeva. "So you think you can play: An exploratory study of music video games." Journal of Music, Technology and Education 9, no. 3 (2016): 273–88. http://dx.doi.org/10.1386/jmte.9.3.273_1.
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Digital music technologies have evolved by leaps and bounds over the last 10 years. The most popular digital music games allow gamers to experience the performativity of music, long before they have the requisite knowledge and skills, by playing with instrument-shaped controllers (e.g. Guitar Hero, Rock Band, Sing Star, Wii Music), while others involve plugging conventional electric guitars into a game console to learn musical technique through gameplay (e.g. Rocksmith). Many of these digital music environments claim to have educative potential, and some are actually used in music classrooms. This article discusses the findings from a pilot study to explore what high school age students could gain in terms of musical knowledge, skill and understanding from these games. We found students improved from pre- to post-assessment in different areas of musicianship after playing Sing Party, Wii Music and Rocksmith, as well as a variety of games on the iPad.
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Tsai, Eva, and Hyunjoon Shin. "Strumming a place of one's own: gender, independence and the East Asian pop-rock screen." Popular Music 32, no. 1 (2013): 7–22. http://dx.doi.org/10.1017/s0261143012000517.
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AbstractThe first decade of the 21st century has seen a concurrent rise of pop-rock screen productions in Japan, South Korea and Taiwan, particularly feature films, documentaries and TV series informed by the guitar and/or band culture. This paper probes the popularisation of pop-rock in the region and asks what gender and sexual expressions have been mobilised in such productions and representations. The paper juxtaposes dominant gender tropes, such as the failing male rocker in search of rebirth (Korea), romantic youth pursuing authenticity (Japan), dazzling but also bedazzled rocker-girl on stage (Japan), indie music goddess in control of subdued femininity (Korea) and peripheral girl-with-acoustic-guitar who chronicles boys' sorrow (Taiwan). Responding to the familiar myth of rebellion in pop-rock discourses, our inter-referential analysis suggests that East Asian pop-rock screen is about the making of heterotopias rather than utopias.
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Juwita, Lily, Erfan Erfan, and Irdhan Epria Darma Putra. "ARANSEMEN MUSIK SEKOLAH DENGAN JUDUL “RUMAH KITA”." Jurnal Sendratasik 8, no. 1 (2019): 35. http://dx.doi.org/10.24036/jsu.v8i1.106416.
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This artwork aims to express an idea that is poured through music performances in the form of music arrangement. In this song, arranger worked in the form of school music arrangement. The band Combo at SMK N 7 Padang corresponds to the ability of ensembles studied by students. Here arranger arranged song our house is played with some vocal music accompaniment, keyboard, bass, guitar, drums. The arransemen in this piece of music contains lyrics that explain that as bad and cruel as any of this country we must remain grateful and devoted to the homeland. By building new things through some development techniques such as reps, modulation, Augmentsi, diminution, arpeggio and various other techniques without changing the essence of the song of our house. Arransemen song popularized by one of the Indonesian rock band Goodbles with the title song "Rumah Kita" played by students of SMK Negeri 7 Padang. The Arransemen is played by 6 people with vocal formations, guitars, keyboards, bass and drums. Keywords: Rumah Kita
Dissertations / Theses on the topic "Guitar music (Rock)"
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Tuttle, Brian. "Who killed rock guitar? Virtuosity in nineteen-nineties alternative rock." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121303.
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After the release of Nirvana's Nevermind in 1991, previously underground alternative rock burst into the mainstream and dethroned heavy metal as the dominant form of hard rock. The culture that surrounded alternative music was a politically progressive American post-punk movement that sought a more egalitarian, tolerant, and democratic world than heavy metal offered. Alternative culture saw heavy-metal style as a symbol for the masculinist values that seem to underlie the genre. Heavy-metal guitar gods—hyper-masculine virtuosic figures revered by fans for their "cool kid" personas and ability to "shred" the guitar—seemed sexist, arrogant, and apathetic. To oppose heavy metal's hierarchy, alternative rockers fashioned a contrastive aesthetic style in order to signify their democratic values. For Nirvana, doing so meant "killing" the guitar god by creating compelling hard rock without shred and satirizing the guitar god's "glam" appearance, thus rendering them impotent. Although alternative rock was generally suspicious of virtuosic display, several virtuosos took part in the genre including bassist Les Claypool of Primus, electric guitarist Tom Morello of Rage Against the Machine, and acoustic guitarist Ani DiFranco. These alternative musicians share many characteristics with virtuosos of other genres. Yet, that which most distinguishes alternative virtuosos from other kinds is the "loser" persona types they embody. Furthermore, unlike guitar gods, alternative virtuosos were understood to put their virtuosity in the service of something greater than themselves: alternative politics. Taking a dialogical approach involving a cultural semiotic analysis of various sonic, visual, and verbal styles that construct virtuosity and its meaning within the context of the alternative genre, this study demonstrates how alternative virtuosos fashioned virtuosic styles that could express alternative values.<br>Après la parution de l'album Nevermind du groupe Nirvana en 1991, le rock alternatif auparavant “underground” a émergé sur la scène musicale traditionnelle, détrônant le heavy metal en tant que forme dominante du hard rock. La culture entourant la musique alternative se voulait un mouvement post-punk progressiste américain, qui recherchait un monde plus égalitaire, tolérant et démocratique que celui offert par le heavy metal. La culture alternative a perçu le style heavy metal comme le symbole des valeurs masculinistes qui semblaient sous-tendre le genre. Les dieux de la guitare heavy-metal—des figures virtuoses hyper-masculines adulées par les fans pour leur personnalité "décontractée" et leur abilité à faire du shred avec leur guitare—semblaient sexistes, arrogants et apathiques. Afin de s'opposer à la hiérarchie du heavy-metal, les rockeurs alternatifs ont développé leur propre style esthétique afin de démontrer leurs valeurs démocratiques. Pour Nirvana, ceci signifiait "tuer" les dieux de la guitare en créant un hard-rock irrésistible sans shred et en satirisant l'apparence "glamour" des dieux de la guitare, les rendant ainsi impotents. Les dieux de la guitare heavy-metal—des figures virtuoses hyper-masculines adulées par les fans pour leur personnalité "décontractée" et leur abilité à faire du shred avec leur guitare – semblaient sexistes, arrogants et apathiques. Afin de s'opposer à la hiérarchie du heavy-metal, les rockeurs alternatifs ont développé leur propre style esthétique afin de démontrer leurs valeurs démocratiques. Pour Nirvana, ceci signifiait "tuer" les dieux de la guitare en créant un hard-rock irrésistible sans shred et en satirisant l'apparence "glamour" des dieux de la guitare, les rendant ainsi impotents. Bien que le rock alternatif demeure généralement méfiant envers les démonstrations de virtuosité, plusieurs virtuoses ont pris part à ce genre musical, incluant le bassiste Les Claypool du groupe Primus, le guitariste électrique Tom Morello de Rage Against the Machine, et la guitariste acoustique Ani DiFranco. Ces musiciens alternatifs partagent plusieurs caractéristiques avec les virtuoses issus d'autres genres musicaux. Pourtant, ce qui distingue le plus ces virtuoses alternatifs d'autres catégories de virtuoses est la personnalité de "perdant" qu'ils incarnent. De plus, contrairement aux dieux de la guitare, il était établi que les virtuoses alternatifs mettaient leur virtuosité au service de quelque chose de plus grand qu'eux-même: la politique alternative. Empruntant une approche dialogique se fondant sur une analyse sémiotique culturelle de plusieurs styles soniques, visuels et verbaux construisant la virtuosité et son sens dans le contexte du genre alternatif, cette étude démontre que les musiciens alternatifs ont façonné des styles virtuoses de manière à exprimer des valeurs alternatives.
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Shea, Nicholas Jordan. "Ecological Models of Musical Structure in Pop-rock, 1950–2019." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu158755665247824.
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Heim, Matthew D. "Reflections." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337007594.
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Willett, Toby T. "California as Music to American Ears: Migration, Technology, and Rock and Roll in the Golden State, 1946-2000." DigitalCommons@CalPoly, 2010. https://digitalcommons.calpoly.edu/theses/264.
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Migrations and technological advances in California following World War II, spurred radical changes in the production and development of popular music, most notably rock and roll. California largely lacked the entrenched traditions of the American Northeast, and in many ways its exploding population translated into the growth of a culture built around embracing newer methodologies, whether technological innovations or radical artistic departures. In large part owing to its increasing ethnic diversity during the economic expansion, California was uniquely poised to become a center of incredible postwar dynamism, especially when seen in the production, consumption, and stylistic development of music. Nevertheless, many of the radical departures in American music were contingent upon the contributions of a small group of inter-connected musical equipment manufacturers and musicians in California from the 1940s through the 1960s. As the United States experienced dramatic changes during the awesome postwar boom, Californian artists, merchants, and equipment makers exploited opportunities, making the Golden State the national trendsetter in musical developments both technological and stylistic. In particular, the invention, development, and further refinement of solid bodied electric guitars and basses in Southern California permanently changed how music would be made. The transformation of West Coast music would produce differing reactions nationally, while foreign developments would impact California, challenging its hegemony.
Books on the topic "Guitar music (Rock)"
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Riley, Glenn. Complete Rock Guitar Method: Rock Lead Guitar Solos (Complete Rock Guitar Method). Alfred Publishing, 2006.
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Zevon, Warren. The Warren Zevon Guitar Songbook (Guitar Songbook Edition) (Guitar Songbooks). Alfred Publishing, 2005.
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Hal Leonard Publishing Corporation (COR). Rock Guitar Bible. Hal Leonard Corporation, 1998.
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Stang, Aaron. Guitar Rock Shop 2 (21st Century Guitar Rock Shop). Alfred Publishing Company, 1997.
Find full textBook chapters on the topic "Guitar music (Rock)"
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Kraushaar, Wolfgang. "Guitar Smashing: Gustav Metzger, the Idea of Auto-destructive Works of Art, and Its Influence on Rock Music." In The Global Sixties in Sound and Vision. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137375230_8.
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O’Reilly, Dr Daragh, Dr Gretchen Larsen, and Dr Krzysztof Kubacki. "Music Brands." In Music, Markets and Consumption. Goodfellow Publishers, 2013. http://dx.doi.org/10.23912/978-1-908999-52-8-2249.
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Fender Stratocasters, Steinway grand pianos, Marshall amplifiers, the iPod – these are all brands associated with the music business in one way or another. However, in addition to these product brands, there is regular talk within the music industry of pop idols, rock icons, pop stars, jazz greats, rock gods, legendary opera singers, cult bands, guitar heroes, stellar performances, trademark sounds, signature tunes, classic albums, breakthrough singles, rock ‘n’ roll myths, anthemic songs, breakout/ breakthrough recordings, and – of course – hype. These terms have in common the signification of some kind of, or some claim to, cultural distinction. From a marketing point of view, this kind of talk fits very easily into the strategic notion of positioning, as well as the discourse of branding.
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Choudhury, Suddhaloke Roy, and Kaushal B. K. "Consumer Buying Behavior of Budding Musicians Between 15 and 25 Purchasing Guitars in Pune." In Advances in Marketing, Customer Relationship Management, and E-Services. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-5690-9.ch009.
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The earth-shattering effect of Rock and Roll on popular music put guitars on the map. Buying behavior of a guitar (instrument) is relatively a nascent topic in academic literature, although listening to and playing music itself has been an important part of human culture for centuries. Thus, the primary objective of this study is to investigate consumer buying behavior of budding musicians between the ages of 15 and 25, purchasing guitars in the city of Pune. The study ended up providing a significant insight into the mind of a budding musician while purchasing a guitar. All of this has helped shape the buying behavior of a potential consumer. Surprisingly, family influence has been low for most people since they have been quite sure while making a purchase.
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Bucuvalas, Tina. "George E. Soffos (1953–2013)." In Greek Music in America. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0038.
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George Soffos was born in Ohio into a family with roots in southern Rhodes. He learned to play guitar as a child, studied with master bouzouki player Giannis Tatasopoulos, and by 17 was an independent headliner in Greek clubs throughout the country.Playing a mix of traditional and popular Greek music infused with some aspects of American rock, Soffos was considered one of the best bouzouki musicians of his generation. He performed with most of the great Greek musicians and vocalists of his era in the U.S. and Greece and appeared on several albums.
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Braae, Nick. "Legacy." In Rock and Rhapsodies. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526736.003.0012.
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This chapter surveys the existence of Queen—as a band and a cultural product—since 1991. It is argued that the ongoing status of Queen is one of protecting and enshrining certain iconic elements of their musical identity: the extravagant and flamboyant performance style of Mercury; the sonic power of their idiolect; and their position in the canon of rock music. These observations are drawn from examination of the replacement vocalists, a major single release in 1997 (‘No One But You’), and the West End musical We Will Rock You. The chapter concludes by considering Queen’s influence on later artists, which is not as widespread as may be intimated from the praise lavished by their successors (such as Dave Grohl or Katy Perry). It is contended that the very nature of Queen’s idiolect meant that such influence is either difficult to discern musically or is limited to a small selection of textural patterns, such as vocal or guitar arrangements.
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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 the genre before electric amplifiers gave rise to the current ascendancy of guitars over horns. Hodges’s blues-based collaborations with organist Wild Bill Davis are then described as largely responsible for creating a new subgenre of jazz, the organ-sax combo, which endures to this day.
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Bannister, Matthew. "What will I do if she dies? Music, misery and white masculinities." In White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock. Routledge, 2017. http://dx.doi.org/10.4324/9781351218023-6.
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Milward, John. "The “Birth” of Americana." In Americanaland. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043918.003.0016.
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This chapter looks at Alison Krauss, who began playing classical violin at the age of five years and turned to bluegrass after winning her first fiddle contest aged eight. Krauss won her first Grammy Award for the title song of her 1990 album I've Got That Old Feeling. By 2019, she had won twenty-seven Grammys, fourteen of them with Union Station. Krauss's success was an anomaly in the relatively cloistered world of bluegrass, where the big time meant a contract with an independent label such as Rounder or Sugar Hill and gigs at the Telluride Bluegrass Festival and Merlefest, an annual roots music event in North Carolina. Festival attendees often bring their own instruments for campground jam sessions, while the pros network backstage. That was how Krauss became acquainted with Nickel Creek, a young bluegrass trio consisting of Chris Thile (mandolin) and siblings Sara Watkins (fiddle) and Sean Watkins (guitar). Krauss produced the trio's self-titled 2000 album, an influential success that, though grounded in bluegrass, also incorporated elements of jazz, classical, folk, and rock. Americana lived in this music, and the young players would become stars of the new genre.
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Milward, John. "Troubadours." In Americanaland. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043918.003.0011.
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This chapter focuses on the Troubadour, which was ground zero for musicians playing various combinations of rock and folk. Crosby, Stills & Nash dominated turntables in the summer of 1969 the way Sgt. Pepper's Lonely Hearts Club Band had during 1967's Summer of Love, but whereas the Beatles LP famously exploited the recording studio, the Crosby, Stills & Nash album succeeded on the earthier strength of vocal harmonies. Before David Crosby, Stephen Stills, and Graham Nash hit the road, however, they decided to add Stills's old foil from Buffalo Springfield, Neil Young, who had just released his first solo album and who shared manager Elliot Roberts with Joni Mitchell. Crosby, Stills, Nash & Young played their second gig at the Woodstock Festival in August 1969. Young would flip this coin throughout his career, and thereby embrace the two poles of Americana music. Meanwhile, by the release of her third album, Ladies of the Canyon, Mitchell had evolved from a highly literate folk singer into the creator of uniquely artful songs that employed unusual guitar tunings (and soulful piano playing) to accompany lyrics that were both personal and poetic.
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"Jeans, Rock, and Electric Guitars, 1950s-mid-1960s." In Popular Music in Southeast Asia. Amsterdam University Press, 2017. http://dx.doi.org/10.2307/j.ctt1zkjzjw.5.
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