Academic literature on the topic 'Hard rock music'
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Journal articles on the topic "Hard rock music"
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S. Santoso, Dedik. "PENGARUH MUSIK TERHADAP PERFORMANCE FISIK." Jurnal Teknik Industri 4, no. 1 (July 9, 2004): 1–7. http://dx.doi.org/10.9744/jti.4.1.1-7.
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The main objective of this study, as mentioned on the title, is to determine whether there is any effect of music on physical task performance. Three different kind of music were used in this study: easy listening/slow music, hard rock music, and subject's own favorite music. The same physical task without music was also conducted for every subject as the control. To simulate the physical task, each subject has to walk on a treadmill at a constant speed (3 MPH) and inclination (4º) for six minutes. Enough rest was given after a subject finished each task. Four undergraduate and six graduate students were volunteered as subjects in this study. They are three females and seven males. Statistical analysis software programs were used to analyze the results. It is shown from this study that slow music and favorite music have significant effect on the physical task. The heart rate is significantly lower when the subjects listened to a slow music or their favorite music while performing a physical task compared with performing the same task without listening to any music. The heart rate is not significantly different when subjects listened to hard rock music compared with no music listened. On the other hand, VO2 consumption is not significantly different between without music and with all kind of music. Therefore, according to this study, it is beneficial to listen to a certain kind of music while performing a physical task since they lower the heart rate.
Abstract in Bahasa Indonesia :
Tujuan utama dari paper ini adalah untuk menentukan apakah ada pengaruh dari musik terhadap performance dari seseorang saat melaksanakan pekerjaan fisik. Tiga jenis musik digunakan dalam studi ini: musik ringan, hard rock, dan musik favorit masing-masing subjek. Pekerjaan fisik yang sama tanpa musik juga dilaksanakan sebagai kontrol. Sebagai pekerjaan fisik, setiap subjek berjalan di atas treadmill dengan kecepatan konstan (4.8 km/jam) dan kemiringan konstan (4º) selama 6 menit. Setiap subjek diberikan istirahat yang cukup setiap kali selesai melaksanakan satu eksperimen. Sepuluh mahasiswa, tiga wanita dan tujuh pria berpartisipasi secara sukarela dalam studi ini. Program statistik digunakan untuk menganalisa hasil studi. Dari hasil perhitungan, tampak bahwa musik ringan dan favorit secara signifikan mempengaruhi performance fisik. Detak jantung per menit lebih rendah saat subyek mendengarkan musik ringan atau musik favorit mereka sambil melaksanakan pekerjaan fisik, dibandingkan tanpa mendengarkan musik. Pada saat mendengarkan musik hard rock, detak jantung menurun tetapi tidak signifikan. Di lain pihak, konsumsi oksigen tidak menurun secara signifikan bila tanpa musik dibandingkan dengan mendengarkan musik. Karena itu, akan lebih menguntungkan bila pada saat melakukan suatu pekerjaan fisik, pekerja mendengarkan musik ringan atau musik favorit mereka.
Kata kunci: musik, performance fisik, detak jantung, konsumsi Oksigin
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Saphan, LinDa. "From Modern Rock to Postmodern Hard Rock: Cambodian Alternative Music Voices." Ethnic Studies Review 35, no. 1 (January 1, 2012): 23–39. http://dx.doi.org/10.1525/esr.2012.35.1.23.
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Cambodian modernity was driven by the political agenda of the Sihanouk government beginning in the 1950s, and Cambodian rock and roll emerged in the 1960s in step with Sihanouk's ambitious national modernization project. Urban rockers were primarily upper-class male youths. In. the postcolonial era rock and roll was appropriated from abroad and given a unique Cambodian sound, while today's emerging hard rock music borrows foreign sociocultural references along with the music. Postmodern Cambodia and its diaspora have seen the evolution of a more diverse music subculture of alternative voices of hard rock bands and hip-hop artists, as well as post-bourgeois and post-male singers and songwriters.
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Dalton, Brian H., David G. Behm, and Armin Kibele. "Effects of sound types and volumes on simulated driving, vigilance tasks and heart rate." Occupational Ergonomics 7, no. 3 (January 11, 2008): 153–68. http://dx.doi.org/10.3233/oer-2007-7302.
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The objective was to determine whether specific types and volumes of sounds affect driving-related tasks. Participants completed six trials while exposed to different sound types (hard rock, classical music and industrial noise) and volumes (53 versus 95 db (A)). Participants executed a randomized order of tasks, involving: movement (MT), reaction time (RT), simulated driving (SimD), and non-conscious perception of masking stimuli. The results suggest high volumes impaired SimD, RT and MT. During hard rock music, accommodation HR was significantly higher whereas male RT was slower than female RT. However, RT was enhanced when subjects were exposed to hard rock music during a non-conscious task of longer duration. SimD crashes increased during quiet hard rock music in comparison to quiet industrial noise. Experimental HR was lower during quiet sound volumes for both genders. In summary, loud volumes affect simple vigilance whereas hard rock music may affect tasks involving concentration and attention especially with males.
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Robinson, Thomas O., James B. Weaver, and Dolf Zillmann. "Exploring the Relation between Personality and the Appreciation of Rock Music." Psychological Reports 78, no. 1 (February 1996): 259–69. http://dx.doi.org/10.2466/pr0.1996.78.1.259.
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Scores on five personality characteristics, extraversion, neuroticism, and psychoticism as well as reactive and proactive rebelliousness, and the appreciation of soft/nonrebellious and hard/rebellious rock-music videotapes were explored. After completing the personality tests, female and male undergraduates were exposed to rock-music videotapes and asked to rate various aspects of their enjoyment of each. Analysis indicated that psychoticism and reactive rebelliousness were associated with enjoyment in a parallel fashion. Specifically, respondents scoring high on psychoticism or high on reactive rebelliousness enjoyed hard/rebellious rock-music videotapes more than did their peers scoring low on psychoticism or low on reactive rebelliousness. The reverse was evident for the enjoyment of soft/nonrebellious rock-music videotapes. In contrast, scores on extraversion, neuroticism, and proactive rebelliousness were not associated with enjoyment. Gender differences emerged, however; women ( n = 78) enjoyed soft/nonrebellious rock music more than did men ( n = 60); and conversely, men enjoyed hard/rebellious rock music more than did women.
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Green, Professor Chris. "A Rock and a Hard Place." Musical Times 135, no. 1817 (July 1994): 421. http://dx.doi.org/10.2307/1003244.
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Carter, James. "Campus Rock." Journal of Popular Music Studies 32, no. 3 (August 27, 2020): 51–72. http://dx.doi.org/10.1525/jpms.2020.32.3.51.
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During 1967-8, The Lovin’ Spoonful, The Animals, The Who, Richie Havens, Jefferson Airplane and the Iron Butterfly, performed in the gymnasium at the small, liberal arts Drew University in suburban New Jersey. Turns out, this experience was not unique to Drew. College campuses across the country were essential for the growth of popular music, and of rock music in particular in the mid- to late-sixties. The music industry took notice as booking agents, record shops, pop music promoters, radio stations, and industry magazines and newspapers all began to place more emphasis on the opportunities provided by the nation’s colleges. While we know a great deal about activism on college campuses during the sixties, we know little about that same environment and its relationship to the growth and development of rock culture. This essay will explore the relationship between the growth of rock culture, the college campus, and the broader sixties experience. The college campus proved crucial in the development of rock music as student tastes determined “rock culture.” Folk, pop, soul/R&B, folk rock, hard rock, and psychedelic/acid rock, thrived simultaneously on the college campus from 1967 to 1970, precisely the period of significant change in popular music.
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Carter, James. "Campus Rock." Journal of Popular Music Studies 32, no. 3 (August 26, 2020): 51–72. http://dx.doi.org/10.1525/jpms.2020.323006.
Full textAbstract:
During 1967-8, The Lovin’ Spoonful, The Animals, The Who, Richie Havens, Jefferson Airplane and the Iron Butterfly, performed in the gymnasium at the small, liberal arts Drew University in suburban New Jersey. Turns out, this experience was not unique to Drew. College campuses across the country were essential for the growth of popular music, and of rock music in particular in the mid- to late-sixties. The music industry took notice as booking agents, record shops, pop music promoters, radio stations, and industry magazines and newspapers all began to place more emphasis on the opportunities provided by the nation’s colleges. While we know a great deal about activism on college campuses during the sixties, we know little about that same environment and its relationship to the growth and development of rock culture. This essay will explore the relationship between the growth of rock culture, the college campus, and the broader sixties experience. The college campus proved crucial in the development of rock music as student tastes determined “rock culture.” Folk, pop, soul/R&B, folk rock, hard rock, and psychedelic/acid rock, thrived simultaneously on the college campus from 1967 to 1970, precisely the period of significant change in popular music.
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Westrol, Michael S., Susmith Koneru, Norah McIntyre, Andrew T. Caruso, Faizan H. Arshad, and Mark A. Merlin. "Music Genre as a Predictor of Resource Utilization at Outdoor Music Concerts." Prehospital and Disaster Medicine 32, no. 3 (February 20, 2017): 289–96. http://dx.doi.org/10.1017/s1049023x17000085.
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AbstractObjectivesThe aim of this study was to examine the various modern music genres and their effect on the utilization of medical resources with analysis and adjustment for potential confounders.MethodsA retrospective review of patient logs from an open-air, contemporary amphitheater over a period of 10 years was performed. Variables recorded by the medical personnel for each concert included the attendance, description of the weather, and a patient log in which nature and outcome were recorded. The primary outcomes were associations of genres with the medical usage rate (MUR). Secondary outcomes investigated were the association of confounders and the influences on the level of care provided, the transport rate, and the nature of medical complaint.ResultsA total of 2,399,864 concert attendees, of which 4,546 patients presented to venue Emergency Medical Services (EMS) during 403 concerts with an average of 11.4 patients (annual range 7.1-17.4) each concert. Of potential confounders, only the heat index ≥90°F (32.2°C) and whether the event was a festival were significant (P=.027 and .001, respectively). After adjustment, the genres with significantly increased MUR in decreasing order were: alternative rock, hip-hop/rap, modern rock, heavy metal/hard rock, and country music (P<.05). Medical complaints were significantly increased with alternative rock or when the heat index was ≥90°F (32.2°C; P<.001). Traumatic injuries were most significantly increased with alternative rock (P<.001). Alcohol or drug intoxication was significantly more common in hip-hop/rap (P<.001). Transport rates were highest with alcohol/drug intoxicated patients (P<.001), lowest with traumatic injuries (P=.004), and negatively affected by heat index ≥90°F (32.2°C; P=.008), alternative rock (P=.017), and country music (P=.033).ConclusionAlternative rock, hip-hop/rap, modern rock, heavy metal/hard rock, and country music concerts had higher levels of medical resource utilization. High heat indices and music festivals also increase the MUR. This information can assist event planners with preparation and resource utilization. Future research should focus on prospective validation of the regression equation.Westrol MS, KoneruS, McIntyreN, Caruso AT, ArshadFH, MerlinMA. Music genre as a predictor of resource utilization at outdoor music concerts. Prehosp Disaster Med. 2017;32(3):289–296.
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del Val, Fernán. "‘Sing as you talk’: Politics, popular music and rock criticism in Spain (1975–1986)." Journalism 20, no. 9 (August 4, 2017): 1203–22. http://dx.doi.org/10.1177/1464884917719586.
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The field of popular music in Spain underwent an important transformation in the years of the country’s political transition from 1975 to 1986, producing a great confluence of two music scenes: the so-called ‘Movida’ scene and the hard-rock scene. This article analyses a variety of music magazines and personal interviews with rock critics to trace how the process of legitimation in rock criticism deepened during those years. From a theoretical standpoint, this article applies ideas from the sociology of art criticism to popular music studies, Motti Regev’s work on the non-Anglophone music press and Shyon Baumann’s work on the legitimation process.
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Basu, Sharmadip. "Between rock and a hard place: Cultural politics of 1970s rock music in Calcutta." South Asian Popular Culture 10, no. 3 (October 2012): 285–94. http://dx.doi.org/10.1080/14746689.2012.706025.
Full textDissertations / Theses on the topic "Hard rock music"
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Vaughn, Erin M. "Harmonic Resources in 1980s Hard Rock and Heavy Metal Music." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1449012267.
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Della, Rosa Jacki Lynn. "Hard rockin' mamas : female rockabilly artists of Rock'n'roll's first generation, 1953-1960." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1202427565.
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Henry, Lucas Aaron. "Freedom Now!: Four Hard Bop and Avant-Garde Jazz Musicians' Musical Commentary on the Civil Rights Movement, 1958-1964." [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-1110104-224112/unrestricted/HenryL121004f.pdf.
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Thesis (M.A.)--East Tennessee State University, 2004.Title from electronic submission form. ETSU ETD database URN: etd-1110104-224112 Includes bibliographical references. Also available via Internet at the UMI web site.
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Kristoffersson, Jessica, and Sara Samuelsson. "Rockstjärnor har inga tuttar : En innehållsanalys om genusrepresentationen i musikmagasinet MOJO." Thesis, Linnéuniversitetet, Institutionen för samhällsvetenskaper, SV, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-10400.
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The purpose of this study is to give an insight in how music press is presented gender wise. The focus area lies in rock music and the study is made on British music magazine MOJO in the year of 2010. The study contains quantitative analyses showing how much room men are given compared to women. The study is also supplemented with image analyses of four covers spread out over the year. The main question is formulated as in, how much room do women get in music magazine MOJO 2010 and what output does this have on rock music’s gender characteristics? The main results show, amongst other things that 79% of all the articles are written with focus on one or more male musicians. 9% were written about both men and women and 12% of the articles were written about women alone. The writers are also dominated by men and the study shows that 84% of the 510 articles were written by men. MOJO is a male-dominated magazine where men write about men, and the first sight of the magazine says the same thing. None of the twelve issues during 2010 have a female artist on the cover. They show without any exceptions the upper body of white men in their middle age. In the content analyses we have also been counting matters as how much space each article is given and in which substance the article is written about. This shows that men are more often written about with their profession as main purpose while women are written about with focus on their privacy. Men are musicians and women are women. The result also shows that articles written about men get more space when it comes to number of characters than articles written about women.
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Gendreau, Marc-Antoine. "Le heavy metal érigé en contre-culture dans le cadre du Record Labeling Hearing : une sous-culture en émergence entre stigmatisation et reconnaissance." Thèse, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/30973.
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La thèse analyse un document intitulé Record Labeling Hearing (RLH) (1985), qui reprend dans son intégralité une séance qui s’est tenue au Congrès des États-Unis à propos du contenu jugé problématique de certains albums de musique. Au cœur de cette séance, se retrouve le Parents Music Resource Centre (PMRC), un groupe de pression qui voit le jour en 1984. D’après le PMRC, les albums avec des paroles traitant de sexe, de violence, d’occulte, de drogues et d’alcool méritent l’autocollant du « Parental Advisory : Explicit Lyrics » afin d’avertir les parents des thématiques abordées. La séance réunit des sénateurs du Congrès américain, les membres du PMRC et des alliés de ces derniers, dont la National Parent/Teacher Association (NPTA), ainsi que des représentants de l’industrie de la musique et trois artistes. Nous verrons dans la thèse qu’en fait, c’est le heavy metal que le PMRC et ses alliés visaient lors du RLH et non par exemple certains contenus transversaux à divers types d’albums de musique. A cette époque, la sous-culture du heavy metal était encore en émergence et pour tout dire bien fragile. En 1985, elle était même menacée de fragmentation en raison de la popularité de certains de ses sous-genres. Or, en présentant le heavy metal comme une contre-culture, le RLH a aidé ce genre musical à se constituer en véritable sous-culture.
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Mäki, Sami. "Har rock en roll för hälsan? : En fokusgruppsstudie på hur musicerande i grupp inverkar på vuxna deltagarnas välbefinnande och empowerment." Thesis, Högskolan i Gävle, Avdelningen för arbets- och folkhälsovetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-14409.
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The objective of this qualitative study was to contribute to the understanding of how musical activities affect the participants' well-being and empowerment and to investigate which fac-tors contribute to that effect. Invitations were sent to 13 adult participants in a rock music school in the middle part of Sweden. 7 persons (4 men, 3 women) participated in the study. 4 themes were discussed in focus groups to highlight how informants were affected by the ac-tivity and what factors were important in the context. Results showed that music activities impact on participants' well-being and empowerment through several factors.Themes that appeared were: 1) focus on the present through music, 2) personal development, 3) meaningful leisure activity 4) the group properties. The group properties theme had four underlying themes: participation, equality, tolerance, cooperation toward common goals and leadership. The study has led to a greater understanding of how musical activities affect indi-vidual well-being and empowerment. A visualization of the participating forces that play a role in this effect has started and extended research with more suitable methods is needed to illuminate the individual factors and how they contribute to individual well-being and em-powerment.Syftet med denna kvalitativa studie var att bidra till förståelsen om hur en musikgruppsverk-samhet kan inverka på deltagarnas välbefinnande och empowerment samt att undersöka vad i sammanhanget som kan ge upphov till denna inverkan.Missivbrev skickades till 13 vuxna deltagare i en rockmusikskola i mellersta Sverige och 7 personer (4 män, 3 kvinnor) deltog sedan i studien. 4 teman diskuterades i fokusgrupper i en strävan att synliggöra hur informanterna berörts av verksamheten samt vilka faktorer som varit betydelsefulla i sammanhanget. Transkriberingen av intervjuerna analyserades sedan genom att meningsbärande enheter plockades ut, kodades och delades upp i teman.Resultaten visade att en rockgruppsverksamhet har inverkan på deltagarnas välbefinnande och empowerment genom ett samlad inverkan av flera faktorer. De teman som framkom i fokus-grupperna med betydelse för denna inverkan är 1) fokus på nuet genom musiken, 2) personlig utveckling, 3) meningsfull fritidssysselsättning samt 4) gruppens egenskaper och under detta tema fanns fyra underliggande teman; delaktighet, likvärdighet, tolerans, samarbete mot ge-mensamt mål och ledarskapet. Studien har lett fram till en ökad förståelse om hur en musik-gruppsverksamhet inverkar på individers välbefinnande och empowerment. Ett avstamp till att synliggöra de medverkande krafterna som har en roll i denna inverkan har påbörjats och det behövs mer forskning med bättre lämpade metoder för att mer ingående belysa fenomenet
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Yun, Yeh Chi, and 葉娸筠. "Rock music animation video research and creation byQuantitative support－ Hard Rock oriented －." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/90527614838714299350.
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碩士國立臺中教育大學
數位內容科技學系碩士班
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Abstract Music in this generation expresses itself not only in hearing but also in visualization. With the popularization of TV and MTV, we are able to watch a song’s music video performance on TV, which has become an important part of editing a song. The patterns of a song’s performance have become more diverse as well. In addition to filming the artist live in the song, its producer also uses animation to extend the possibility of articulating the song’s visual effects, which helps convey the core ideas of the Rock’n Roll music, as in the example of Gorillaz, a rock’n roll band. The success of a song’s MV expands the effectiveness of its publicity and also may lead the song to the music legacy. Therefore, it has become a major issue of how to produce a song with its perfect-matching music video in terms of band performance and its management in the music enterprise. It seems that, as a main subject, it is the right track for young music bands to follow, and for the animation artists, they will have the ambition to devote themselves to this field and it is worth trying and putting their efforts to creativity. This study focuses on exploring the quantitative analysis by MDS to support the production of animation video for rock music, and the results of analysis will be my MV references to do the pre-operating work with art, characters, locations and the other related designs. My research has concentrated on interpreting the MV sample from its visual angles, and put those results of analyzing its designs as well as the evaluation into guiding more sentient creativity; also the design formed by the MV visual effects is a subject matter, and the methods of the visual designs and preference cognition in images provided by the testees of the questionnaire are added to my research. (The screen interpretation comes from the perspective of the style. The IV scientific method leads to the sensual creation. The visual design techniques and imagery explore the optimal screen of Rock-style music video.) The paper is divided into: 1: Introduction 2: Literature review 3: Research methods 4: Results of the study 5: Design operations and results 6: Conclusion and advice. I sincerely hope that through the quantitative analysis of the observing the designs, it will support the creativity and avoids being excessively subjective for listeners unable to interpret the song itself, which may cause embarrassments. We are looking forward to the final of this study being given as a reference relevant to creative design and academic research.
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Palmer, Craig Sidney. "Caught between Christianity and the hard rock : a narrative study." Diss., 2013. http://hdl.handle.net/2263/37380.
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The research study, Caught between Christianity and the hard rock: A narrative study, presents, explores and discusses the stories of Christian hard rock musicians from a predetermined Christian hard rock band, comprising of four members. The study takes a narrative approach at exploring and discussing the participants’ stories, which comprise the qualitative data for the study. The stories were collected by means of four individual semi-structured interviews and a group unstructured interview. The interviews sought to ask the participants certain questions to hear and collect their stories pertaining to the various narratives interplaying in their lives as Christian hard rock musicians. Following collection and transcription of these stories, the stories were analysed according to interpretive narrative analysis, according to Riessman, with reference to Labov’s 6 elements of transcription. Such stories were subsequently reported and discussed within the research study from a narrative theoretical point of departure. This allows for the reader to gain an understanding of the various narratives interplaying in the lives of Christian hard rock musicians, and the significance of such narratives and their experiences, which ultimately is assumed to influence the participants’ daily lives. Ultimately, the study facilitates for the participants to tell their stories as they wished to tell them, in terms of how they may be “caught between Christianity and the hard rock” music genre. Subsequently the study also serves for the reader to gain a narrative understanding as to how the band members understand themselves and their band to be in the world.Dissertation (MA)--University of Pretoria, 2013.
gm2014
Psychology
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Van, der Meulen Lindy. "From rock'n'roll to hard core punk : an introduction to rock music in Durban, 1963-1985." Thesis, 1995. http://hdl.handle.net/10413/5019.
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This thesis introduces the reader to rock music in Durban from
1963 to 1985, tracing the development of rock in Durban from
rock'n'roll to hard core punk. Although the thesis is
historically orientated, it also endeavours to show the
relationship of rock music in Durban to three central themes,
viz: the relationship of rock in Durban to the socio-political
realities of apartheid in South Africa; the role of women in
local rock, and the identity crisis experienced by white,
English-speaking South Africans. Each of these themes is explored
in a separate chapter, with Chapter Two providing the bulk of
historical data on which the remaining chapters are based.
Besides the important goal of documenting a forgotten and ignored
rock history, one central concern pervades this work. In every
chapter, the conclusions reached all point to the identity crisis
experienced both by South African rock audiences and the rock
musicians themselves. The constant hankering after international
(and specifically British) rock music trends both by audiences
and fans is symptomatic of a culture in crisis, and it is the
search for the reasons for this identity crisis that dominate
this work. The global/local debate and its relationship to rock
in South Africa has been a useful theoretical tool in the
unravelling of the identity crisis mentioned above.
Chapter Four focusses on the role of women in the Durban rock
scene and documents the difficulties experienced by women who
were rock musicians in Durban. This is a small contribution to
the increasing field of womens' studies, and I have attempted to
relate the role of women in rock in Durban to other studies in
this field.Thesis (M.Mus.)-University of Natal, Durban, 1995.
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Anderson, Bronwen. "Between a rock and a hard place interrogating the notion of indigenous worship in the light of the 'worship war' debate." Thesis, 2010. http://hdl.handle.net/10539/7516.
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MMus thesis, School of Music, Faculty of Humanities, University of the Witwatersrand, 2009The subject of Christian church music has sparked controversy for centuries. In this dissertation I highlight the most recent discussion about the ‘worship war’ debate, namely the infiltration of contemporary popular music into what once was considered a sacred arena. I explore some of the shortcomings of Contemporary Church Music with the intention of answering two questions: Is there a style of music that is most appropriate for Christian worship and that best represents Christian identity? and, How can South African Christians express their own unique cultural identity in their Church Music? I seek proof of the link between musical choices and demographics in three Evangelical churches in Johannesburg via insights gained in a worship questionnaire and series of interviews. I conclude that music has the ability to construct both identity and a sense of place and that Contemporary Church Music (CChM) is distinct from contemporary secular music in two ways: its purpose and the identity of the musicians and congregants who participate in its performance. Addressing the latter, I explore a demographics model and conclude that every congregation boasts a unique identity which is affected by music, church history and cultural upbringing. I argue that Indigenous Worship is critical in answering both questions
Books on the topic "Hard rock music"
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group), Chevelle (Musical. Hard rock guitar tab. Van Nuys, CA: Alfred Pub. Co., 2009.
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Andrea, Bussell, and Akiyama Ron, eds. Eddie Trunk's essential hard rock and heavy metal. New York: Abrams Image, 2011.
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Strong, M. C. The great metal discography: From hard rock to hardcore. 2nd ed. Edinburgh: Mojo, 2001.
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Hard rock, heavy metal, metal--: Histoire, culture et pratiquants. Paris: IRMA, 2004.
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Cossart, Axel von. Heavy Metal, Hard Rock, Punk: Evolution und Trend Bands. [Köln?]: Voco-Edition, 1993.
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Jasper, Tony. The international encyclopedia of hard rock & heavy metal. London: Sidgwick & Jackson, 1986.
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Jasper, Tony. The international encyclopedia of hard rock & heavy metal. New York, N.Y: Facts on File, 1985.
Find full textBook chapters on the topic "Hard rock music"
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Hill, Rosemary Lucy. "Listening to Hard Rock and Metal Music." In Gender, Metal and the Media, 105–32. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-55441-3_5.
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Scotto, Ciro. "The Studio's Function in Creating Distortion Related Compositional Structures in Hard Rock and Heavy Metal." In Distortion in Music Production, 201–15. London: Focal Press, 2023. http://dx.doi.org/10.4324/9780429356841-17.
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Ketovuori, Mikko, and Matt Lampert. "From ‘Hard Rock Hallelujah’ to ‘Ukonhauta’ in Nokialand—A Socionomic Perspective on the Mood Shift in Finland’s Popular Music from 2006 to 2009." In Mood, 109–26. New York : Taylor and Francis, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429259432-7.
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Braae, Nick. "Hard Rock, Glam Rock, and Progressive Rock in the 1970s." In Rock and Rhapsodies, 139–73. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526736.003.0007.
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This chapter places Queen within the network of the principal rock labels of the 1970s. Extending the work of classical and popular music analysts, a distinction is drawn between style and genre, as pertaining to replicated musical patterns and the cultural meanings afforded by such patterns, respectively. With this distinction in place, Queen’s 1970s outputs are analysed in relation to the style and genre conventions of hard rock, glam rock, and progressive rock. It is demonstrated that the band engaged the style conventions of the former and latter labels, but were positioned closer to glam rock in genre terms. This is evident through their subversive exaggerated articulation of hard and progressive rock style traits, with ‘Bohemian Rhapsody’ encapsulating this relationship.
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"8. Hard Rock Turns Metallic: The Who and Black Sabbath." In Music is Power, 108–20. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9781978808157-009.
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Milward, John. "Hard- Core Troubadours." In Americanaland, 194–209. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043918.003.0015.
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This chapter details how, at MCA (Music Corporation of America), Jimmy Bowen signed artists whom he might have met backstage at an Emmylou Harris show, including a trio of singer-songwriters from Texas: Nanci Griffith, Lyle Lovett, and the wild card of the bunch, Steve Earle. Earle had bounced in and out of Nashville for a decade. A singer-songwriter who grew up on rock, he cut a rockabilly record for Epic that went unreleased until his MCA debut became a hit. Since he had grown up as a fan of rock and roll, Earle made a country record that could also appeal to rockers. However, Steve Earle's drug use was flagrant by the time he was recording Copperhead Road. He wrote two songs while behind bars for drugs, the rocking “Hard-Core Troubadour” and a poignant ballad, “Goodbye.”
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Braae, Nick. "The Musical World(s) of Queen." In Rock and Rhapsodies, 174–89. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526736.003.0008.
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This chapter begins from the premise that’s Queen idiolect or ‘sound’ was distinct in popular music. Using the concept of ‘style planets’, the idiolect characteristics are connected to numerous and varied stylistic sources including 1970s hard rock, 1970s Baroque pop, 1960s pop, soul, and pre-WWII American popular song. These influences are identified in the textural structures, performance gestures, and harmonic choices. Using the concept of ‘musical worlding’, it is suggested that a hypothetical listener might regard Queen’s idiolect as predominantly placed within the world of hard rock, but made to sound distinct and unique because of the integration of seemingly incongruous style influences within their songs. This analysis is conducted with primary reference to ‘We Are the Champions’
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Ching, Barbara. "Dying hard: Hard country at the finish line?" In Wrong’s What I do Best, 119–34. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195108354.003.0006.
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Abstract In the ’70s, as Owens’s career was fading, the much-heralded Outlaw movement, led by Waylon Jennings and Willie Nelson (but including a range of others),1 managed to buck the system in ways very similar to Owens’s. Like Owens, the Outlaws armed themselves with Telecasters and a rock beat, and then insisted on the right to produce their own music. Like Owens, they preferred show venues like Manhattan’s hip Max’s Kansas City or massive festivals and arenas to the staid and low-paying Opry. “Who listens to the Opry nowadays? Ain’t nobody out there listening anymore,” Jennings told Peter Guralnick in 1974 (208). According to Frye Gaillard, Roy Acuff denounced Nelson’s rejection of the fold from the Opry stage (146). However, this rebellion would have been far less newsworthy if the rebels had acknowledged their similarity to Owens. Instead, one of Jennings’s first appearances in the outlaw mode introduces him as a pill-popping “psychedelic cowboy” and critic of Owens: “he does some of the most ridiculous damn things I ever heard,” Jennings complained (Grissim, 80).2
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Menconi, David. "The Eight-Track Era of Rock and Roll." In Step It Up and Go, 128–42. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469659350.003.0009.
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After forming as a beach band called Stax of Gold, Nantucket emerged as North Carolina’s top mainstream rock act of the 1970s. At a time when few acts in the state could attract the record industry, Nantucket signed to the major label Epic Records and had a good run through the 1970s and into the ’80s as a hard-working touring act. They also never completely left beach music behind, with horns and R&B a part of their sound, creating a template for North Carolina bands playing overtly mainstream music even when it was out of fashion.
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Church, Joseph. "Musical Values in Rock Theatre Songs." In Rock in the Musical Theatre, 61–88. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190943462.003.0005.
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Here the nature of rock music is broken down into its components, with an emphasis on rhythm. In rock, the melody and the accompaniment are both rhythmic; this chapter contains an extensive discussion of how melody and accompaniment interact to create the essential rock element of groove. The notions of rhythmic accuracy and rhythmic freedom are discussed at length from both aesthetic and technical standpoints. Among the primary topics are meter, tempo, feel, improvisation, tension and resolution, and underlying rhythmic motors in rock. A singer’s approach to melody is examined by genre, including extensive examples: rock ’n’ roll, hard rock, pop and pop-rock, blues and gospel, soul and r&b, rap, and ballads.
Conference papers on the topic "Hard rock music"
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Kovacs, Jozsef, Andras Iosif, Sorin Mihai Radu, Maria Lazar, and Andras Andrei. "Requirements to Be Fulfilled by Existing BWES Working in Hard to Excavate Rock formations." In MultiScience - XXXI. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2017. http://dx.doi.org/10.26649/musci.2017.015.
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Iosif, Andras, Jozsef Kovacs, Mircea Risteiu, Andras Andrei, and Tomus Ovidiu –Bogdan. "Study on the Theoretical Background of in Situ and Test Rig Measurements of Load in Boom of BWE Working in Hard to Excavate Rocks." In MultiScience - XXXI. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2017. http://dx.doi.org/10.26649/musci.2017.018.
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Takatama, Mirai, and Wonseok Yang. "Remote Cheering System with Voice in Live Streaming." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001753.
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In recent years, live streaming has become the mainstream. Because the music live has been canceled or postponed by the influence of the new coronavirus infection. Even now that the number of infected people is decreasing, hybrid live performances with both concert and live streaming are being held. Live streaming can reduce travel costs and time, so it has the merit of being able to watch it easily. However, it is difficult to feel a sense of unity and presence, and it does not create more excitement than concert. It has become a problem in the music industry. In order to solve this problem, we think it is necessary to pay attention to the presence or absence of audience sharing the same place and voice, which is a big difference between concert and live streaming. This study examines how to make it satisfactory live where we can feel a sense of unity and presence even if we are alone at home in a live streaming. To this end, we clarified the behavior of the audience watching concert and analyzed how to cheer.Therefore, we conducted a survey of the excitement of it based on the pyramid of Freytag.We investigated the behavior of the audience from concert videos of idols, singers and rock bands. As a result, audience’s cheering method has three types of cheering: those using voice, those using hands and those using entire body. Cheering using voice plays an important role in deciding the excitement.Live streaming has comments, social tipping, and posting on SNS as a service. However, none of them share the voice of the audience. This analysis clarified the reason why live streaming is not more exciting than concert. Thereby we considered that sharing emotions aloud between the audience create a sense of unity in live streaming. From the above, we produce a live streaming cheering system using voice. This system uses the call program to communicate with other audiences, visualize the voice of the audience and project it on the screen. It’s mechanism that increases the number of effects that express excitement as the audience’s voice gets louder. We produce it to use TouchDesigner. Moreover, subjects watched the concert video with this system. we experimented with whether the subject felt a sense of unity and presence compared to conventional live streaming. Subjects were able to shout even more by sharing voices with other audiences and visualizing their voices. In addition, conventional live streaming shared emotions by discussing their impressions with other audiences using SNS. By contrast, this system can share emotions directly through the call program, which makes it more exciting. On the other hand, subjects have an opinion that it would be better to project effects tailored to the concept of songs and concerts on the screen so that the audience would not get bored. Therefore, this system is room for the development. From this experiment, the remote cheering system using voice improve the concert experience at home.