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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
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Cherla, Srikanth, Hendrik Purwins, and Marco Marchini. "Automatic Phrase Continuation from Guitar and Bass Guitar Melodies." Computer Music Journal 37, no. 3 (2013): 68–81. http://dx.doi.org/10.1162/comj_a_00184.
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A framework is proposed for generating interesting, musically similar variations of a given monophonic melody. The focus is on pop/rock guitar and bass guitar melodies with the aim of eventual extensions to other instruments and musical styles. It is demonstrated here how learning musical style from segmented audio data can be formulated as an unsupervised learning problem to generate a symbolic representation. A melody is first segmented into a sequence of notes using onset detection and pitch estimation. A set of hierarchical, coarse-to-fine symbolic representations of the melody is generated by clustering pitch values at multiple similarity thresholds. The variance ratio criterion is then used to select the appropriate clustering levels in the hierarchy. Note onsets are aligned with beats, considering the estimated meter of the melody, to create a sequence of symbols that represent the rhythm in terms of onsets/rests and the metrical locations of their occurrence. A joint representation based on the cross-product of the pitch cluster indices and metrical locations is used to train the prediction model, a variable-length Markov chain. The melodies generated by the model were evaluated through a questionnaire by a group of experts, and received an overall positive response.
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Levy, Claire. "The influence of British rock in Bulgaria." Popular Music 11, no. 2 (1992): 209–12. http://dx.doi.org/10.1017/s0261143000005018.
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Years ago (no prizes for guessing how many years ago), when my friends and I were teenagers who literally lived on ‘She Loves You’ or ‘A Hard Day's Night’, I never thought that one day these songs would be more than my favourite music or that they would even inspire my attempts at academic research. Back in the 1960s, the very thought of studying rock music never crossed my mind – reflections on such a pleasant subject seemed too dry and dull. If I were a boy, I am sure I would have joined a group (apparently I was aware even then that rock was a boy's world. Perhaps this is one of the reasons why I never tried to touch the guitar) …
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Sydney Hutchinson. "Asian Fury: A Tale of Race, Rock, and Air Guitar." Ethnomusicology 60, no. 3 (2016): 411. http://dx.doi.org/10.5406/ethnomusicology.60.3.0411.
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Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.
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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epochal moments become transforming symbols of divestment; here, a commitment writ into rock criticism as one in which rock emerged by giving up something that had been holding it back. Through a study of this 1965 moment, as well as the history of electrification that preceded it and its subsequent commentarial reception, the unreflective secular of rock criticism is exposed.
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Virtala, Paula, Minna Huotilainen, Esa Lilja, Juha Ojala, and Mari Tervaniemi. "Distortion and Western Music Chord Processing." Music Perception 35, no. 3 (2018): 315–31. http://dx.doi.org/10.1525/mp.2018.35.3.315.
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Guitar distortion used in rock music modifies a chord so that new frequencies appear in its harmonic structure. A distorted dyad (power chord) has a special role in heavy metal music due to its harmonics that create a major third interval, making it similar to a major chord. We investigated how distortion affects cortical auditory processing of chords in musicians and nonmusicians. Electric guitar chords with or without distortion and with or without the interval of the major third (i.e., triads or dyads) were presented in an oddball design where one of them served as a repeating standard stimulus and others served as occasional deviants. This enabled the recording of event-related potentials (ERPs) of the electroencephalogram (EEG) related to deviance processing (the mismatch negativity MMN and the attention-related P3a component) in an ignore condition. MMN and P3a responses were elicited in most paradigms. Distorted chords in a nondistorted context only elicited early P3a responses. However, the power chord did not demonstrate a special role in the level of the ERPs. Earlier and larger MMN and P3a responses were elicited when distortion was modified compared to when only harmony (triad vs. dyad) was modified between standards and deviants. The MMN responses were largest when distortion and harmony deviated simultaneously. Musicians demonstrated larger P3a responses than nonmusicians. The results suggest mostly independent cortical auditory processing of distortion and harmony in Western individuals, and facilitated chord change processing in musicians compared to nonmusicians. While distortion has been used in heavy rock music for decades, this study is among the first ones to shed light on its cortical basis.
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Boles, Coleton. "Westernization and Its Effects on the Sound of Japan." Global Insight: A Journal of Critical Human Science and Culture 3, no. 1 (2022): 22–28. http://dx.doi.org/10.32855/globalinsight.2022.003.
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A major source of influence on Japanese musicians has historically been Western art, and the resulting music has also served to influence much of Western contemporary music. This paper forms a timeline containing some key moments in Japanese music history, including the pioneering of Japanese-language rock, synth-pop, and Shibuya-kei. This investigation into these important moments is supplemented by quotes from interviews of musicians, including Haruomi Hosono of Yellow Magic Orchestra and Happy End, Keigo Oyamada of Flipper’s Guitar, and Yasuharu Konishi of Pizzicato Five. This paper finds that a country’s art and culture, in this case Japanese music, can evolve through the importation and assimilation of foreign culture.
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Wish, Dave. "Popular music education and American democracy: Why I coined the term ‘modern band’ and the road ahead." Journal of Popular Music Education 4, no. 1 (2020): 117–25. http://dx.doi.org/10.1386/jpme_00017_1.
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In this article, the author, the founder and CEO of Little Kids Rock, describes how his early work as an elementary school teacher providing an extracurricular guitar club, evolved into him founding a music education non-profit organization. By inventing the term ‘modern band’ and joining nationwide leading efforts for systemic change in US American music education, the author tries to place popular music conceptually and pedagogically at the core of school music programmes. The author briefly describes the causes of the exclusion of popular music from school music programmes before arguing that modern band can help to democratize school music education by making it culturally relevant, student-centred and inclusive. The article concludes with the author’s hopes for the future of music education in the United States.
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McDonald, Chris. "Exploring modal subversions in alternative music." Popular Music 19, no. 3 (2000): 355–63. http://dx.doi.org/10.1017/s0261143000000210.
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IntroductionThe concern of this article is with a particular set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented ‘alternative’ rock, have been using with noticeable frequency in the last ten years. I am also interested in discussing the concept of the power chord (a term I shall explicate more clearly below) as a device in rock that has facilitated the above-mentioned set of harmonic practicesThe observations made in this paper come out of a previous research inquiry of mine into the devices which alternative musicians use to differentiate their music from other styles of mainstream rock. Also, the pursuit of this topic is partly a response to Allan Moore's admonition that ‘there is as yet very little concern for theorizing analytical method in rock music’, and his call for a ‘mapping-out of those harmonic practices that serve to distinguish rock styles . . . from those of common-practice tonality . . . and jazz’ (Moore 1995, p. 185).There has been some rather pointed criticism recently of musicological analyses of popular music (see Shepherd 1993; Frith 1990) on the charge that analysing music's purely sonic dimensions (i.e. melody, harmony, rhythm, structure, etc.) does not really help us understand musical communication. Speaking as a songwriter, however, I would argue that many musicians in rock are indeed concerned with harmonic progression (or ‘the changes’, to use the vernacular term) as an important device or jumping-off point in the process of songwriting. It also seems reasonable to suggest that harmonic progression is a contributing factor in the affective power of a song, although its importance here is likely to be variable and quite open to debate.
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Homan, Shane. "Losing the local: Sydney and the Oz Rock tradition." Popular Music 19, no. 1 (2000): 31–49. http://dx.doi.org/10.1017/s0261143000000040.
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In a tiny inner city pubThe amps were getting stackedLeads were getting wound upIt was full of pissed Anzacs‘Got no more gigs for Tuesday nights’ said the barman to the star,‘We're putting pokies in the lounge and strippers in the bar’The star, he raised his fingers and said ‘fuck this fucking hole’But to his roadie said ‘it's the death of rock and roll’‘There ain't no single place left to play amplified guitarEvery place is servin' long blacks if they're not already tapas bars(TISM (This Is Serious Mum), ‘The Last Australian Guitar Hero’, 1998)Introduction: local music-makingA number of recent studies have focused upon the places and spaces of popular music performance. In particular, analyses of British live music contexts have examined the role of urban landscapes in facilitating production/consumption environments. Building upon Simon Frith's (1983) initial exploration of the synthesis of leisure/work ideologies and popular music, Ruth Finnegan's detailed examination of amateur music practices in Milton Keynes (1989) and Sara Cohen's account of the Liverpool scene (1991) reveal the benefits of engaging in detailed micro-studies of the local. Paul Chevigny's history of the governance of New York City jazz venues (1991) similarly provides a rich insight into performance contexts and the importance of hitherto unnoticed city ordinances in influencing the production of live music.
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Robertson, David G. "“Turning Ourselves”." Religion and the Arts 21, no. 1-2 (2017): 236–58. http://dx.doi.org/10.1163/15685292-02101010.
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In 1974, Robert Fripp—leader of the progressive rock group King Crimson—had a spiritual experience in which “the top of [his] head blew off.” He became a student of J. G. Bennett, himself a former student of G. I. Gurdjieff, at Sherborne House in Gloucestershire, and remains a member of the Bennett Foundation to this day. When Fripp returned to the music industry, it was with an approach that favored disciplined and geometric compositions over the jagged improvisation of the earlier period. This article explores the influence of Gurdjieff and Bennett’s teaching upon Fripp and his work, and his apparent attempts to realize the former’s idea of “objective art” through his music. I pay particular attention to the development of Guitar Craft, in which Fripp applies Gurdjieff’s techniques through the teaching of the guitar. I argue that Fripp’s teaching is a little examined scion of the Gurdjieff lineage, and a case study of discrete cultural production.
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Pastore, M. Torben, and Nikhil Deshpande. "The evolution and maturation of the electric guitar as a system." Journal of the Acoustical Society of America 151, no. 4 (2022): A182. http://dx.doi.org/10.1121/10.0011034.
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The electric guitar came to its initial prominence in the 1940s when its volume allowed jazz guitarists like Charlie Christian to step out in front of the rhythm section like other soloists, competing with the brass, wind, and piano. Further changes in the playing and design of the instrument came with exploitation of the interaction of the electric guitar, tube amplifiers, and analog effects as a larger system. Especially in the rock and funk idioms, the playing and construction of the overall instrument evolved and expanded rapidly with the mainstream embrace of digital technology. This talk will consider the evolution of the electric guitar as a system up through today and consider why it seems the instrument has fully evolved and is unlikely to experience further seismic shifts, especially as the overall thrust of music has shifted to digitally-manipulated sound that is often entirely independent of the physical playing of any instrument.
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Heiderscheit, Annie, Stephanie J. Breckenridge, Linda L. Chlan, and Kay Savik. "Music Preferences of Mechanically Ventilated Patients Participating in a Randomized Controlled Trial." Music and Medicine 6, no. 2 (2014): 29. http://dx.doi.org/10.47513/mmd.v6i2.177.
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Mechanical ventilation (MV) is a life-saving measure and supportive modality utilized to treat patients experiencing respiratory failure. Patients experience pain, discomfort, and anxiety as a result of being mechanically ventilated. Music listening is a nonpharmacological intervention used to manage these psychophysiological symptoms associated with mechanical ventilation. The purpose of this analysis is to examine music preferences of 107 MV patients enrolled in a randomized clinical trial that implemented a patient-directed music listening protocol to help manage the psychophysiological symptom of anxiety. 1 Music data presented heretofore includes the music genres and instrumentation patients identified as their preferred music. Genres preferred include: classical, jazz, rock, country, and oldies. Instrumentation preferred include: piano, voice, guitar, music with nature sounds, and orchestral music. The analysis of three patients’ preferred music received throughout the course of the study is illustrated to demonstrate the details and complexity involved in assessing MV patients, which substantiates the need for an ongoing assessment process.
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Jatmika, Ovan Bagus. "Menelusuri Gejala Decategorization pada Karya Trois Saudade dari Roland Dyens." PROMUSIKA 8, no. 1 (2020): 14–29. http://dx.doi.org/10.24821/promusika.v1i1.3348.
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Di era postmodernisme saat ini, muncul berbagai ragam gaya dalam musik yang begitu masif. Kemunculan ragam gaya yang begitu masif ini membuat upaya pengkategorian musik menjadi semakin kompleks. David Cope mengistilahkan fenomena ini dengan istilah “decategorization”. Fenomena decategorization seringkali ditemukan dalam karya, yang, menurut David Cope disusun menggunakan beberapa pendekatan teknis kompositoris sebagai berikut: eclecticism, quotation, sectionalization, overlay, dan integration. Roland Dyens, komponis Perancis abad 21 adalah komponis yang sangat produktif dalam menghasilkan karya-karya untuk permainan gitar tunggal. Apa yang dia lakukan melalui karya-karyanya sejalan dengan tren umum pada musik abad 21 yang cenderung memasukkan berbagai idiom ke dalam karyanya untuk memunculkan unsur kebaruan. Berbagai ragam gaya yang dia gabungkan menjadi satu dalam karyanya menjadikan karyanya memiliki banyak wajah yang cenderung sulit untuk dikategorikan ke dalam salah satu gaya. Walaupun karya yang ia tulis adalah untuk instrument gitar klasik, namun warna jazz, etnis, folklore, hingga rock cukup terasa kuat dalam komposisinya. Hal inilah yang melatarbelakangi penulis untuk menelusuri lebih jauh gejala “decategorization” dalam karyanya yang berjudul “Trois Saudade” lewat parameter yang telah dijabarkan oleh David Cope.AbstractExploring the Symptoms of Trois Saudade's Decategorization from Roland Dyens. In the era of postmodernism today, a variety of styles in music are so massive. The emergence of a variety of styles that are so massive makes the effort to categorize music becomes more complex. David Cope termed this phenomenon with the term "decategorization". The decategorization phenomenon is often found in works which, according to David Cope, are prepared using the following compositional technical approaches: eclecticism, quotation, sectionalization, overlay, and integration. Roland Dyens, 21st century French composer is a composer who is very productive in producing works for solo guitar playing. What he does through his works is in line with general trends in 21st century music that tends to incorporate various idioms into his work to bring out an element of novelty. The variety of styles that he combined in his work makes his work have many faces that tend to be difficult to categorize into one style. Although the work he wrote was for classical guitar instruments, but the colors of jazz, ethnicity, folklore, even rock felt quite strong in its composition. This is the background of the writer to further explore the phenomenon of "decategorization" in his work entitled "Trois Saudade" through parameters that have been described by David Cope.Keywords: decategorization eclecticism; quotation sectionalization; integration; Roland Dyens; Trois Saudade
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Väkevä, Lauri. "Garage band or GarageBand®? Remixing musical futures." British Journal of Music Education 27, no. 1 (2010): 59–70. http://dx.doi.org/10.1017/s0265051709990209.
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In this paper, I suggest that it is perhaps time to consider the pedagogy of popular music in more extensive terms than conventional rock band practices have to offer. One direction in which this might lead is the expansion of the informal pedagogy based on a ‘garage band’ model to encompass various modes of digital artistry wherever this artistry takes place. This might include: in face-to-face pedagogical situations, in other contexts of informal learning, and in such open networked learning environments as remix sites and musical online communities. The rock-based practice of learning songs by ear from records and rehearsing them together to perform live or to record is just one way to practice popular music artistry today. Such practices as DJing/turntablism; assembling of various bits and pieces to remixes; remixing entire songs to mash-ups in home studios; collective songwriting online; producing of one's own music videos to YouTube; exchanging and comparing videos of live performances of Guitar Hero and Rock Band game songs – all of these indicate a musical culture that differs substantially from conventional ‘garage band’ practices. The global eminence of digital music culture can be taken as one indication of the need to reconsider music as a transformative praxis. By examining the ways in which music is produced and used in digital music culture, we can prepare for new forms of artistry that have yet to emerge from the creative mosaic of digital appropriation. Thus, we expand and redefine our notions of informal music pedagogy. This paper concludes with consideration of several themes that Afrodiasporic aesthetics suggest to the understanding of this artistry.
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Graham, Kevin, and Damian Schofield. "Rock god or game guru: Using Rocksmith to learn to play a guitar." Journal of Music, Technology and Education 11, no. 1 (2018): 65–82. http://dx.doi.org/10.1386/jmte.11.1.65_1.
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Grachten, Maarten, Stefan Lattner, and Emmanuel Deruty. "BassNet: A Variational Gated Autoencoder for Conditional Generation of Bass Guitar Tracks with Learned Interactive Control." Applied Sciences 10, no. 18 (2020): 6627. http://dx.doi.org/10.3390/app10186627.
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Deep learning has given AI-based methods for music creation a boost by over the past years. An important challenge in this field is to balance user control and autonomy in music generation systems. In this work, we present BassNet, a deep learning model for generating bass guitar tracks based on musical source material. An innovative aspect of our work is that the model is trained to learn a temporally stable two-dimensional latent space variable that offers interactive user control. We empirically show that the model can disentangle bass patterns that require sensitivity to harmony, instrument timbre, and rhythm. An ablation study reveals that this capability is because of the temporal stability constraint on latent space trajectories during training. We also demonstrate that models that are trained on pop/rock music learn a latent space that offers control over the diatonic characteristics of the output, among other things. Lastly, we present and discuss generated bass tracks for three different music fragments. The work that is presented here is a step toward the integration of AI-based technology in the workflow of musical content creators.
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Savitskaya, E. A. "Melancholy and Nostalgia in British Progressive Rock." Art & Culture Studies, no. 4 (December 2022): 396–427. http://dx.doi.org/10.51678/2226-0072-2022-4-396-427.
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The article studies the role of such cultural phenomena as melancholy and nostalgia in artistic and “ontological” aspects of rock music. The relevance of this study is due to a high frequency of occurrence of these phenomena in numerous types of modern art (there have been several research dedicated to this issue), as well as the growing popularity of “melancholic rock” in a wide audience. Of particular significance for the author in scientific understanding of the proposed topic were the works by S. Boym, V. Medushevsky, J. Starobinski, V. Syrov, T. Tsaregradskaya, W. Everett, K. Johannison and other researchers. The study of melancholy in rock music was based on British psychedelic and progressive rock, with a detailed review of several vivid examples of compositions by Pink Floyd, Barclay James Harvest, King Crimson, Genesis, Marillion and Steven Wilson. The main purpose of this work is to reveal the characteristic musical and stylistic features, means of expression, and thematic patterns of “melancholic rock”. Among them the most important (in the author’s opinion) are the following: the prevalence of slow tempo (non-typical of rock in general), ostinato, “lack of aspiration” (according to V. Medushevsky), distinctive modal and intonational features (minority, polymodality, lamento intonation complex), folklore and early music influences, special appeal to the “nostalgic” timbres of bowed strings, organ, and wind instruments (both in live performance and electro-mechanical playback or electronic samples), and “flickering” acoustic guitar sounds. A wide range of emotions and moods are presented, from light sadness to deep sorrow, the themes of loss, loneliness, “lost childhood”, etc. The article stresses the role of melancholy, its “emotional modus” and specific sound that overcomes the intellectuality of progressive rock (sometimes excessive), its “calculated” character. At the same time, the “lack of aspiration” can be counter-balanced by the intense dramatic development, typical of progressive rock.
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Seifried, Scott. "Exploring the outcomes of rock and popular music instruction in high school guitar class: a case study." International Journal of Music Education 24, no. 2 (2006): 168–77. http://dx.doi.org/10.1177/0255761406065478.
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Rigg, John L., Randy Marrinan, and Mark A. Thomas. "Playing-related Injury in Guitarists Playing Popular Music." Medical Problems of Performing Artists 18, no. 4 (2003): 150–52. http://dx.doi.org/10.21091/mppa.2003.4026.
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Playing a musical instrument involves the repetitive use of muscles, often at their extreme range of motion. Consequently, musicians in general are at an increased risk for the development of pain syndromes related to nerve or musculoskeletal damage. Acoustic and electric guitars are among the most popular instruments in the world today, with a large population of musicians at risk of injury. This article examines the results of a survey completed by 261 professional, amateur, and student guitarists to determine the most common anatomic locations of playing-related pain and its relationship to possible etiologic factors. A survey of 15 questions was distributed to professional, amateur, and student guitarists who play the musical genres of rock/blues, jazz, and folk across the United States and Canada. The questions addressed type of guitar played, style of music performed, playing posture, picking technique, anatomic location of pain, history of formal training, presence of playing-related pain in the past 12 months, history of trauma to the affected area, and history of other nonrelated medical problems. Playing-related pain was reported by 160 (61.3%) of 261 guitarists who completed the survey. The most often reported location was the fretting hand, with 109 (41.8%) of 261 subjects reporting the presence of playing-related pain in the previous 12 months. The back and neck were the next most reported sites of playing-related pain, with 45 (17.2%) of 261 subjects reporting back pain and 39 (14.9%) of 261 subjects reporting neck pain in the previous 12 months. The results suggest that a substantial number of guitarists playing various styles of popular music are experiencing playing-related pain.
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TRAUT, DON. "‘Simply Irresistible’: recurring accent patterns as hooks in mainstream 1980s music." Popular Music 24, no. 1 (2005): 57–77. http://dx.doi.org/10.1017/s0261143004000303.
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This essay explores connections between the notion of ‘hook’ and several recurring accent patterns found in rock music from the 1980s. It begins by identifying seven syncopated accent patterns and presents a list of over 150 songs from the 1980s that use one or more of these patterns. It then presents three main ways that the accent patterns help create ‘hooks’. First, several songs use one of the patterns to create a strong title hook, as in Rick Springfield's hit, ‘I’ve Done Everything for You', the title of which is set with a syncopated and distinct rhythmic pattern. A second type of ‘hook’ comes in the form of a ‘significant gesture’ that usually precedes the chorus. The pre-chorus ‘My-my-my-my, ah, woo!’ gesture from The Knack's ‘My Sharona’ is an excellent example. Finally, a third type of ‘hook’ involves the combination of a repeated accent pattern with a recurring pitch pattern, as in the guitar introduction to AC/DC's ‘For Those About to Rock’. By realising that these three examples all use the same accent pattern in significant, but different, ways, we acknowledge the prominence of this and other patterns while furthering the discourse on the notion of the ‘hook’.
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Hammond, Nicol. "The Gendered Sound of South Africa: Karen Zoid and the Performance of Nationalism in the New South Africa." Yearbook for Traditional Music 42 (2010): 1–20. http://dx.doi.org/10.1017/s0740155800012637.
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In 2002, less than a year after releasing her first album, Afrikaans rocker Karen Zoid gained a level of notoriety then unheard of among Afrikaans female musicians. She achieved this when she enacted the overtly masculine rock ritual that Aerosmith's Joe Perry has labelled “the ultimate statement of anarchy” (Perry, quoted in Christensen 2004): she smashed her guitar. While frequently interpreted as an attention-getting strategy (which it undeniably was), Karen Zoid's performance was also an act of political positioning, locating her within the already passé tropes of international rock, but also on the margins of the Afrikaans music industry. It also, ironically, allowed her to appropriate some of the rock “authenticity” connected with this display of overt masculinity, despite the fact that her performance can be read as a deliberate (perhaps even camp) parody of this masculinity. This is because, as I will argue in this article, Zoid's legitimacy as the “voice of her generation” and a vocalizing representative of New South African identity has hung precariously off her performed masculinity, despite her destabilization of this image through a variety of queer performances. In this article, I will examine the interlinked history of South African music (with a focus on Afrikaans rock) and national identification that has created a normative masculinity in post-apartheid South Africa (1994-present). I will present Karen Zoid's performance style as an example of resistance to this norm, paying particular attention to the vocal characteristics of gendered South African sound as a site of normativity and resistance. Finally, I will consider the extent to which, in order to enact this resistance, Zoid has been obliged to perform the gendered national norm or has been interpreted in normative terms in order that audiences are able to comprehend her national identifications. By these means I aim to make visible the normally hidden gender bias that undermines South Africa's apparently representative post-apartheid nationalism.
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brackett, david. "elvis costello, the empire of the e chord, and a magic moment or two." Popular Music 24, no. 3 (2005): 357–67. http://dx.doi.org/10.1017/s0261143005000565.
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the phrase ‘this magic moment’ recurs throughout elvis costello's ‘it’s time' (1996). an allusion to pop history – the drifter's ‘this magic moment’ (1960) – is thus used in the service of a fatalistic narrative that manages to evoke both the ‘revenge and guilt’ famously associated with costello's early career and the early 1960's romanticism of brill building pop. the musical ‘magic moment’ of the song arrives in a ringing e major chord at the end of the chorus, played in open position on the electric guitar. the use of this e major chord references another line of pop music history, one that stretches back to the formation of ‘folk-rock’ in the mid-1960s. this paper serves as an example of how one song creates a series of magic moments that resonate densely with simultaneous histories.
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Höstman, Anna. "MY WORLD AS I REMEMBER IT: AN INTERVIEW WITH CHRISTOPHER BUTTERFIELD." Tempo 71, no. 282 (2017): 6–17. http://dx.doi.org/10.1017/s0040298217000572.
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AbstractChristopher Butterfield is a composer and composition teacher. His music has been performed across Canada and in Europe, with recordings on the CBC, Artifact, and Collection QB labels. He is currently the Director of the School of Music in the Faculty of Fine Arts at the University of Victoria. Christopher was born in 1952 in Vancouver, BC. He studied composition at the University of Victoria with Rudolf Komorous and at the State University of New York at Stony Brook with Bülent Arel. He was a performance artist, rock guitar player and composer while living in Toronto between 1977 and 1992, after which he returned to the University of Victoria as Assistant Professor of Composition.I studied composition with Christopher between 2000 and 2005. Earlier this year, I had the opportunity to sit down with him in Victoria. During our interview, I asked him about his life and work, and for his thoughts on how Czech-Canadian composer Rudolf Komorous has influenced composition in Canada over the last few decades.
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Valnes, Matthew. "Prince and post-civil rights era Black music aesthetics." Interactions: Studies in Communication & Culture 12, no. 2 (2022): 159–70. http://dx.doi.org/10.1386/iscc_00044_1.
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This article compares specific studio takes and live performances from the super deluxe Sign o’ the Times box set to argue that the ways Prince and his band integrate multiple styles and genres into their performances participate in the creation and development of a post-civil rights era Black popular music aesthetic. In particular, I demonstrate how the intellectual and physical labour of musical performance and sonic interaction found throughout the box set expands conceptions of what Black popular music should and could sound like. This article analyses four performances. It begins by examining two versions of ‘Witness 4 the Prosecution’. In version 1, Prince utilizes a more guitar-based rock sound, while the second presents a more synth-based approach that incorporates the new sound possibilities of music technologies. Through this comparison, I demonstrate how the way Prince works through these performances represents the kind of sonic freedom and flexibility that was a hallmark of his work. I then turn to a comparison between the original release of ‘Forever in My Life’ and the live performance in Utrecht. While the original release emphasizes Prince’s vocals and the drum part, the live performance becomes a vehicle for improvisation and interaction. By analysing the distinctions between the studio and the live performance, I argue that by incorporating elements like improvisation and call and response, Prince and his band situate their approach to post-civil rights era Black popular music aesthetics within the trajectory of Black music history.
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Zagorski-Thomas, Simon. "The stadium in your bedroom: functional staging, authenticity and the audience-led aesthetic in record production." Popular Music 29, no. 2 (2010): 251–66. http://dx.doi.org/10.1017/s0261143010000061.
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AbstractThis article will discuss how two major contributing factors, functional staging and perceived authenticity, have had and continue to have a powerful influence on the sound of record production across geographical boundaries and throughout history. Functional staging is a concept building on the idea of phonographic staging developed by William Moylan and Serge Lacasse and related to Allan Moore's ‘sound-box’. The staging of sounds in the record production process is considered to be functional if the reason for their particular placement or treatment is related to the practicalities of audience reception rather than to aesthetics. It is not a question of whether the music has a function or not but whether that function has influenced the staging of the recorded music. Thus the divergence of staging techniques used in dance music and rock music that began in the 1970s can be seen as resulting from the different functions the music was put to by the different audiences. Music that is played back through large speakers in a club for the purpose of dancing needs to maintain the clarity of the rhythmic elements and so the ‘drier’ techniques of drum and percussive instrument mixing that characterise dance music developed. Rock, however, was more frequently played back in the smaller, less ambient, home environment and so reverberation was added to simulate the atmosphere of the large-scale venue. At the same time, a variety of culturally constructed notions of authenticity have developed within different musical audiences. Why is it that Queen felt the need to inscribe ‘no synthesisers were used in the making of this album’ on their early records and yet Brian May felt entirely comfortable constructing multiple layered performance ‘patchworks’ of guitar tracks? Why might the use of one type of technological mediation be considered more or less authentic than another? Using examples taken from recordings from all around the world and from ‘art’ and ‘popular’ forms of music, this article will explore how audience-led cultural trends in recording and production practice have resulted in the particular ‘sounds’ of different recorded music genres.
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Audry, Sofian, Victor Drouin-Trempe, and Ola Siebert. "The Strangest Music in the World: Self-Supervised Creativity and Nostalgia for the Future in Robotic Rock Band “The Three Sirens”." Arts 12, no. 1 (2022): 2. http://dx.doi.org/10.3390/arts12010002.
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The emergence of deep learning since the mid-2010s and its successful application to creative activity challenges long-held anthropocentric conceptions of art and music, bringing back ideas about machine creativity that had been previously explored in the 20th century. Particularly, in the 1990s, some artists, composers, and musicians started working with machine learning and other adaptive computation systems. The work of Nicolas Baginsky is emblematic of that era. In 1992, he created the robot guitar Aglaopheme, which became the first performer of a self-learning robotic band developed throughout the 1990s, soon joined by the robot bass Peisinoe, the robot drum Thelxiepeia, and eventually other artificial agents, forming the autonomous robotic band The Three Sirens. In this review, we describe the technological, musical, and imaginative aspects of Baginsky’s robotic instruments. The unreal and behind-the-scenes story of the mythological three sirens is important in understanding how the robots are designed and what they (are) intend(ed) to do. In the context of artificial intelligence, the concept of seeking a surprising musical effect will push us to reimagine such concepts as musical creativity and improvisation within the algorithmic composition and provide opportunities to discuss nostalgia for the future music and live performance.
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Haynes, Maren. "Heaven, Hell, and Hipsters." Ecclesial Practices 1, no. 2 (2014): 207–28. http://dx.doi.org/10.1163/22144471-00102002.
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Mars Hill pastor Mark Driscoll attracts unconventional churchgoers. Hipster youth ages 18–25 comprise the core of the church’s 12,000+ weekly attendees – surprising, amid Driscoll’s controversial promotion of strict gender binaries and fundamentalist theology. Furthermore, the Pacific Northwest boasts the country’s lowest rate of church affiliation (Killen 2004). How, in this so-called ‘religious none-zone,’ has Mars Hill grown rapidly among young adults? I suggest only a portion of Mars Hill’s regional growth relies on content preached in the pulpit. Using ritual theory (Collins 2008) and non-linguistic semiotics (Turino 2008), I posit a connection between Mars Hill’s music ministry and Seattle’s vibrant indie guitar rock scene. By identifying Mars Hill’s mimicry of local concert culture aesthetics, I argue that secular ritual in a sacred space has created a potent ritual environment (Sylvan 2002), contributing massively to the church’s appeal among a majority “unchurched” demographic.
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Størvold, Tore. "Sigur Rós: reception, borealism, and musical style." Popular Music 37, no. 3 (2018): 371–91. http://dx.doi.org/10.1017/s0261143018000442.
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AbstractSince the international breakthrough of The Sugarcubes and Björk in the late 1980s, the Anglophone discourse surrounding Icelandic popular music has proven to be the latest instance of a long history of representation in which the North Atlantic island is imagined as an icy periphery on the edge of European civilization. This mode of representation is especially prominent in the discourse surrounding post-rock band Sigur Rós. This article offers a critical reading of the band's reception in the Anglo-American music press during the period of their breakthrough in the UK and USA. Interpretative strategies among listeners and critics are scrutinised using the concept of borealism (Schram 2011) in order to examine attitudes towards the Nordic regions evident in the portrayals of Sigur Rós. Reception issues then form the basis for a musical analysis of a seminal track in the band's history, aiming to demonstrate how specific details in Sigur Rós's style relate to its reception and the discourse surrounding it. The article finds that much of the metaphorical language present in the band's reception can be linked to techniques of musical spatiality, the unusual sound of the bowed electric guitar and non-normative uses of voice and language.
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Oliva, Costantino, and Ari Poutiainen. "Otogarden." Journal of Sound and Music in Games 3, no. 2-3 (2022): 28–58. http://dx.doi.org/10.1525/jsmg.2022.3.2-3.28.
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In this article we present ludomusicological research associated with the development of the video game Otogarden. Players of Otogarden are able to repeat short musical phrases through the use of a loop mechanic, juxtaposing sounds extemporaneously. By using the methodology of research through design, Otogarden addresses aesthetic and design issues related to musical participation in video games. Specifically, this article argues that video games, a contemporary venue for technologically augmented musicking, can allow access to novel forms of musical improvisation. In fact, while video games afford a remarkable variety of musicking, examples related to musical improvisation remain underexplored, with popular games favoring score-based interactions, as established by titles such as Guitar Hero or Rock Band. In similar examples, music is presented as a task to be completed, mediated by prerecorded compositions and simplified notations. Notable exceptions, such as the experimental game Electroplankton, have been criticized specifically for their lack of composition-oriented functionalities, seemingly neglecting the inherent value of improvisatory musical practices in video games. Otogarden challenges this understanding of a “music game” by focusing on the largely untapped potential of musical improvisation, “an activity of enormous complexity and sophistication, or the simplest and most direct expression.”1 In order to gain feedback on Otogarden’s special characteristics, we held a playtesting session with a sample of university students (N=21) with a special interest in music and music education. We collected research data from this session in the form of a survey. Analysis reveals different manifested perspectives, offering players novel creative opportunities. In addition, the game has surprising potential as a music-education tool. We conclude that it is possible to deliberately stimulate players’ perspective on the game in an improvisatory musical direction, making evident the extemporaneous musical possibilities connected with digital game engagement.
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Angus, Bill. "Going down to the crossroads: popular music and transformative magic." Popular Music 39, no. 2 (2020): 257–69. http://dx.doi.org/10.1017/s0261143020000379.
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If there is a single narrative that captures the modern understanding of transformative crossroads magic it is the spurious fable of the selling of Robert Johnson's soul. When, in the palaeoanthropology of 20th century rock and roll music, the biographers of the short-lived blues legend claimed that he had been down to the Dockery Plantation crossroads at midnight to sell his soul to the Devil in exchange for guitar skills, they were perhaps unwitting witnesses to the deep history of myth and ritual that has long been associated with the transformative space of the crossroads. They were not lacking in foresight, however, about the way in which such a claim would enhance their subject's credibility. The value of such a sulphurous reputation for a musician is not merely a recent phenomenon but also has historical precedents. A hundred years before Johnson (who lived 1911–1938), the guitarist and violinist Niccolo Paganini (1782–1840) was considered such a suspiciously devilish virtuoso that his audiences were reputed to cross themselves before his concerts in hope of protection from subtle demonic influence. One audience member even fled a concert after reporting seeing the Devil himself aiding Paganini's performance. Going a little further back, Giuseppe Tartini (1692–1770) explained of his best-known sonata, The Devil's Trill (1713), that he had ‘written down the piece after waking from a particularly vivid dream of the Devil playing a violin with ferocious virtuosity’, and claimed that it was ‘but a shadow of what he had witnessed in the dream, for he was unable to capture on the page the Devil's full intensity’. His long career was certainly not harmed by this youthful excursion into Hell.
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Warner, Simon. "White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock. By Matthew Bannister. Aldershot, UK and Burlington, VT: Ashgate, 2006. 200 pp. ISBN 0-7546-5188-6." Popular Music 27, no. 1 (2007): 181–82. http://dx.doi.org/10.1017/s0261143008008118.
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Gladfelter, N. D. "Krout, R. (1994). Beginning rock guitar for music leaders: Skills for therapy, education, recreation and leisure. St. Louis, MO: MMB Music, Inc. 114 pages. ISBN 0-918812-82-8. $19.95." Music Therapy Perspectives 15, no. 2 (1997): 99–100. http://dx.doi.org/10.1093/mtp/15.2.99.
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Calderon, Alberto. "Marlon V. del Rosario, MD (1956 – 2021)." Philippine Journal of Otolaryngology Head and Neck Surgery 36, no. 1 (2021): 72. http://dx.doi.org/10.32412/pjohns.v36i1.1671.
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Marlon graduated from the University of Santo Tomas (UST) Faculty of Medicine and Surgery in 1982. He completed his internship at the Ospital ng Maynila Medical Center (OMMC) the following year. He then proceeded to complete the OMMC residency training program in Otolaryngology-Head and Neck Surgery (then chaired by the venerable Dr. Angel Enriquez). In 1988, he attained the title of Diplomate in Otolaryngology-Head and Neck Surgery.
 Marlon established his private practice in his hometown of Tanza, Cavite. It is also here where he co-founded the Divine Grace Medical Center, the first tertiary medical facility in this part of Cavite. In 1989, with the encouragement of Dr. Joselito “Che” Jamir, a respected fellow Caviteño otolaryngologist, he joined the faculty of De La Salle Medical and Health Sciences Institute in Dasmariñas, Cavite, serving for 30 years as Assistant Professor. He also served as an Associate Board Examiner for the Philippine Board of Otolaryngology-Head and Neck Surgery until 2016.
 With this short statement alone, one can already see the exemplary medical career Marlon had. But to properly pay tribute to him, one must see and know the man behind the endoscope, the man beneath the white tailored medical overcoat.
 Marlon’s character was a bit of a paradox. He was a humble and modest person despite his substantial resources. He was unassuming yet self-assured. He was reserved but gregarious at the same time. For instance, in our conventions or other gatherings of fellows, he would most likely be seated at the farthest portion of the meeting quietly and attentively listening to the proceedings. But once outside the session hall when he gets to meet up with his buddies, he transforms and takes center stage in what will eventually be a boisterous exchange of banter. The usual suspects in these animated gatherings were Drs. Arsenio “Boy” Pascual, Howard Enriquez, Tomas “Tom” Antonio and Diosdado “Dado” Uy. Indeed, he was the epitome of someone who worked hard and played hard.
 He was a man with foresight. Instead of investing in clinic spaces in large and established medical centers in Metro Manila and Cavite, he staked his money on building the Divine Grace Medical Center, a tertiary medical center in what was then a sleepy town of Tanza, Cavite. This sleepy town is now a commercial and financial hub in the northwestern part of Cavite, with his hospital located right in the middle of all the commercial and infrastructure developments. And as his practice started to thrive, he tempered his success with kindness and compassion, earning him more prominence in his hometown.
 He was also a music aficionado. While many of us are only recently going back to the turntable and vinyl records, he never let go of his turntable set up. He was a bit of a snob when it came to music. He found tapes and digitized sound inferior to vinyl records, and his vinyl record collection is still an envy of many. He appreciated all forms of music, but the genre he truly loved (like a true Caviteño) was Rock and Roll. His love for music did not stop there. He was a musician as well and played a mean guitar. This is illustrated by the manner in which his family arranged the altar where his urn was placed. Amidst the flowers on the altar was a picture of a grinning Marlon with a guitar slung over his shoulder. His treasured guitars were right beside him: his acoustic guitar placed on one side of the altar and his electric guitar on the other.
 His true crowning glory however, was his family. He became a family man at the tender age of 21. His family was his foundation and inspiration. His lovely and ever supportive wife Ellie held the fort while he was away in Manila to study medicine and undergo residency training. They were blessed with 3 boys whom he was extremely proud of. His eldest son Marc (43 years old) is a US - trained interventional cardiologist who practices in several large medical institutions around Metro Manila and Cavite. Michael (40 years old) is an associate professor of entrepreneurship and marketing at De La Salle University – Dasmariñas and currently completing his requirements for his doctorate degree in business administration and management. The youngest son Mikko (32 years old) seems to have a special interest in local Cavite politics.
 Indeed, Marlon’s life was colorful and complete. Nonetheless, it was still too soon for him to embark on this final journey. But such is life and we just have to accept it.
 My dear friend and compadre Marlon, I raise my glass of your favorite Japanese single malt whiskey and congratulate you for a life well-lived.
 Godspeed and rest easy
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Cooper, B. Lee. "Instroville: Hits and Rarities from the Golden Age of Pop Instrumentals; Coolsville: Hits and Rarities from the Golden Age of Pop Instrumentals; Shazam! 50 Guitar Bustin' Instrumentals; Raunchy! The Rise of Instrumental Rock; Raunchy! Volume Two: Rockin' in the Sixties." Popular Music and Society 37, no. 5 (2013): 697–700. http://dx.doi.org/10.1080/03007766.2013.835920.
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Stephens, Randall J. "“Where else did they copy their styles but from church groups?”: Rock ‘n’ Roll and Pentecostalism in the 1950s South." Church History 85, no. 1 (2016): 97–131. http://dx.doi.org/10.1017/s0009640715001365.
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Church leaders and laypeople in the US went on the defensive shortly after rock and roll became a national youth craze in 1955 and 1956. Few of those religious critics would have been aware or capable of understanding that rock ‘n’ roll, in fact, had deep religious roots. Early rockers, all southerners—such as Elvis Presley, Johnny Cash, Little Richard, Jerry Lee Lewis, and James Brown—grew up in or regularly attended pentecostal churches. Pentecostalism, a vibrant religious movement that traced its origins to the early 20th century, broke with many of the formalities of traditional protestantism. Believers held mixed-race services during the height of Jim Crow segregation. The faithful spoke in tongues, practiced healing, and cultivated loud, revved-up, beat-driven music. These were not the sedate congregants of mainline churches. Some pentecostal churches incorporated drums, brass instruments, pianos, and even newly invented electric guitars. Rock ‘n’ roll performers looked back to the vibrant churches of their youth, their charismatic pastors, and to flashy singing itinerants for inspiration. In a region that novelist Flannery O'Connor called “Christ-haunted,” the line between secular and sacred, holy and profane was repeatedly crossed by rock musicians. This article traces the black and white pentecostal influence on rock ‘n’ roll in the American South, from performance style and music to dress and religious views. It also analyzes the vital ways that religion took center stage in arguments and debates about the new genre.
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Stetsiuk, R. O. "Saxophone jazz improvisation: texture and syntax parameters." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 88–109. http://dx.doi.org/10.34064/khnum1-57.06.
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Thisarticle offers a comprehensive overview of the “saxophonejazzimprovisation” phenomenon. It was noted that in the contemporary jazz studies, the components of this notion are, as a rule, not combined but studied separately. This work is the first study that proposes to combine them based on the textureandsyntaxparameters. For that purpose, a number of perceptions already developed in academic music studies have been corrected in this work, including the perception of the instrument’s textural style (A. Zherzdev), specifics of its reflection in improvisation, syntax as a “system of anticipations” (D. Terentiev), which has its own specifics in saxophonejazzimprovisation. Being one of the style “emblems” of jazz, saxophone combines the specifics and universalism of its aggregate sound, which makes its sound image communicatively in-demand. It was emphasized that the methodology and methodic of the topic presented in this work need to be concretized on the example of saxophone jazz styles, which offers prospects for further studies of this topic. The theory of jazz improvisation inevitably includes the question of instrument (instruments, voices) used to make it. At this point, we need to tap into information about the instrumental-type style (style of any types of music according to V. Kholopova) available in jazz practice in both of its historical forms: traditional and contemporary. Saxophone becomes one of the key objects of this study, being an instrument of new type capable of conveying the entire range of jazz intoning shades represented in such origins of jazz as blues, ballad, religious chants, popular “classical music”, academic instruments. To generalize, it is worth noting that information about saxophonejazzimprovisation is concentrated in two areas of study: organological (jazz instruments and their use: solo, ensemble, orchestral) and personal (portraits of outstanding jazz saxophonists made, as a rule, in an overview and opinionbased style). The historical path of saxophone as one of the most in-demand instruments of jazz improvisation was quite tortuous and thorny. The conservative public considered this instrument “indecent” and believed that its use in jazz does not meet the requirements of high taste (A. Onegger). It was emphasized that specifics of jazz saxophone sound indeed lay in the instrumentalization of expressive vocal and declamatory intonations originating from blues with its melancholy and “esthetics of crying”. It is manifested especially vividly, and with even greater share of shock value than in jazz, in the use of saxophone in rock music, which exerted reverse influence over jazz that gave birth to it (V. Ivanov). The timbre-articulatory diversity found in saxophone is identified when taking its organological characteristics out of the dialectics of the pair of notions “specifics – universalism”, where the deepening of the former (specifics) means overcoming thereof towards the latter, universalism (E. Nazaikinskyi). As a result, we have a textural style of saxophone based on melodic nature of this instrument, its specific timbre enriched by the influence of other instrumental sounds, including trumpet, piano, and later, electric guitar. Among the existing definitions of texture in music, there are three key, determinant parameters of the approach to the study of texture style of saxophone in jazz. The first of them is spatial-configurative (E. Nazaikinskyi), the second is procedural-dynamic (G. Ignatchenko), and the third is performance-based (V. Moskalenko). On aggregate, the textural style of jazz saxophone is defined in this article as the synthesis of the instrument’s “voice” and the “voice” of the improviser saxophonist. The former defines the typical in this style, and the latter defines the individual, unique. The specifics of texture in jazz, including saxophone jazz, are special, because this improvisation art does not have the component of final “finishing” of musical fabric. The formulas existing in saxophone jazz texture are divided into three types: specific (typical for jazz itself), specifized (stemming from the folklore and “third” layers), and transduction-reduction (according to S. Davydov, borrowed from the academic layer). The syntactic composition of saxophone jazz improvisation correlates by the textural one, taking the shape of textural-structural components (a term by G. Ignatchenko) – units of the first scaled level of the perception of form, which are related to the one and the other. The mechanism of anticipation – a forestalling perception of the next segment of the process of improvisation, and the intuitionallogical orientation of an improviser saxophonist toward the number “7” have great significance (E. Barban). Like in academic practice, syntax in jazz improvisation is built on the basis of “stability” and “instability” semantics (D. Terentiev), forming a complex system of paradigms and syntagmas (the former are typical for traditional jazz, the latter for contemporary one). The rules of jazz improvisation semantize, because the most important thing for a jazz musician is the process, not the result. At this point, the aspect of temporal distance from the “cause” to the “effect” becomes especially distinguishable: the farther they are from each other the less predictable improvisation becomes, and vice versa. The process of improvisation is largely structured by choruses, which represent sections of a form related to variant reproduction of a theme (standard theme or author’s theme). In addition, improvisation (including saxophone improvisation) may contain elements of general forms of sound used as the bridges connecting sections inside choruses.
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Dorfman, Jay. "Examining effectiveness of modern band professional development for practising teachers." Journal of Popular Music Education 4, no. 1 (2020): 5–20. http://dx.doi.org/10.1386/jpme_00011_1.
Full textAbstract:
Modern band is a type of musical ensemble that typically uses rock band instruments (guitars, basses, drums, keyboards and vocals) and can also incorporate digital technologies to create music of recent, popular styles. Several models of professional development in modern band have surfaced in the United States over the last few years. Literature on professional development contains varied lists and descriptions of characteristics that make professional development more or less effective both for the participants and, in turn, for the students they teach. In this article, I summarize those characteristics, and draw on one particular model to assess the effectiveness of one model of modern band professional development. This model is a week-long class which has been taught over three summers at two universities. Analyses of open-ended survey responses from participants in the classes reveal characteristics of the class that were effective both for the participating teachers and for their students and improvements that can be made to increase effectiveness.
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Koozin, Timothy. "Guitar Voicing in Pop-Rock Music." Spcial Issue: (Per)Form in(g) Rock 17, no. 3 (2011). http://dx.doi.org/10.30535/mto.17.3.5.
Full textAbstract:
This study integrates guitar tablature and harmonic transformational theory to map transformational paths of motion through fretboard locations on the guitar. A focus on patterns of physical motion in guitar performance reveals how chords and figurations characteristic of pop-rock music can be understood as instances of more generalized hand position shapes and motions indexed to intervallic distances on the fretboard. The “fret-interval type” is introduced as a generalized expression of fretboard hand position information. Coordinating fretboard location with harmonic transformation provides information about the physical actions that move through pitch voicings and hand positions, forming specific embodiments of transformation that may project expressive meaning through correlations with fundamental body-derived image schema patterns.Genres of chord voicing and their harmonic networks are related to idiomatic actions of guitar playing as a means to explore chord patterning, riff structure, more complex chords, and alternate tuning. Examples from a range of pop-rock repertoires illustrate how guitar voicing routines can migrate across the full range of the guitar to project large-scale harmonic relationships, contributing to musical form while dynamically shaping contexts for vocal expression in songs. Guitar voicings are also explored as agents of cultural meaning that may combine to form stylistic tropes within songs, projecting a web of cultural references and associations.
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KRÜGER BRIDGE, SIMONE. "Music and Identity in Paraguay: Expressing National, Racial and Class Identity in Guitar Music Culture." Journal of the Royal Musical Association, April 4, 2022, 1–49. http://dx.doi.org/10.1017/rma.2022.11.
Full textAbstract:
Abstract This article illustrates, with particular focus on Rolando Chaparro’s rock fusion album Bohemio (2011), the way in which music operates in expressing Paraguayan national, racial and class identity. It first reviews the literature on music and identity generally, as well as more specifically in relation to Paraguay. It then explores expressions of nationalism and paraguayidad (Paraguayanness) in folkloric ‘popular’ musics (música popular) and the concept of raza guaraní (a widespread belief in a common ancestry based on Spanish and Guaraní ethnic identity) in the construction, maintenance and expression of identity. Finally, it examines the Agustín Barrios revivals in Paraguay and people’s class consciousness as it is expressed in Paraguayan guitar music culture.
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Moorey, Gerry. "Music, identity, and oblivion." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 1, no. 2 (2007). http://dx.doi.org/10.31165/nk.2007.12.30.
Full textAbstract:
This article explores a feature of listeners’ everyday interactions with popular music: the tendency to take vicarious pleasure in the production of such music by singing along, or miming the actions of the guitarist or drummer. Acts of mimicry such as these are examined via a consideration of the concepts of mimesis, catharsis, and – perhaps more unusually – possession. In this latter regard, parallels are drawn between contemporary acts of identification, such as playing air-guitar, and possession-trances, which have been a significant feature of a number of musical cultures throughout history. The conclusion is that pop/rock mime-play is a ritualistic means of engendering fellow-feeling within a context of relaxation and self-abandonment.