Academic literature on the topic 'Led Zeppelin (Musical group)'
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Journal articles on the topic "Led Zeppelin (Musical group)"
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BRACKETT, JOHN. "Examining rhythmic and metric practices in Led Zeppelin’s musical style." Popular Music 27, no. 1 (2007): 53–76. http://dx.doi.org/10.1017/s0261143008001487.
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AbstractIn this essay, I examine how aspects of rhythm and metre play a fundamental role in shaping and defining Led Zeppelin’s musical style. At the same time, I will show how Led Zeppelin was able to modify, manipulate, and develop pre-existing musical models and forms through various rhythmic and metric strategies. Comparative analyses will be used in an effort to show how Led Zeppelin’s flexible conception of rhythm and metre enabled the band to put their own stylistic ‘stamp’ on (i) specific musical genres (‘The Crunge’ and the song’s relation to James Brown-style funk), (ii) their riff constructions (‘Black Dog’ in relation to Fleetwood Mac’s ‘Oh Well’), and (iii) their cover versions (‘Dazed and Confused’). Drawing upon my analytical points, I re-visit the complex issues that persist regarding the possibility that Led Zeppelin even has an ‘original’ or ‘unique’ style given their often overt reliance upon earlier musical models and forms. Therefore, in my conclusion, I argue that the development of any artist or group’s individual style necessarily involves the ability to assimilate and transform pre-existing musical features – features such as rhythm and metre – in novel ways and where issues relating to musical style intersect with influence.
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Smith, Erin Sweeney. "Post-imperialism, imaginary geography and the women of Led Zeppelin's IV." Popular Music 36, no. 3 (2017): 410–26. http://dx.doi.org/10.1017/s0261143017000320.
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AbstractLed Zeppelin have long been hailed as the ambassadors of cock rock. Yet, the band's fourth album – the commercial behemoth otherwise known as IV – features collaborations with two women: Sandy Denny's vocal contributions to ‘The Battle of Evermore’ and Memphis Minnie's co-songwriting credit on ‘When the Levee Breaks’. The two tracks feature landscapes dominated by powerful female forces via Denny's Queen of Light character and her counterpart embodied in Memphis Minnie's dark floodwaters. Through an analysis of both songs’ feminised soundscapes, I explore the links between Zeppelin's musical style and the social and political climate of 1970s post-imperial Britain. Investigation into these women's roles not only fills a gap in Led Zeppelin research, but also allows for a wider consideration of the connection between gender and representations of landscape as an important component for popular music study, particularly in terms of the cultural attitudes and politics of a post-imperial nation.
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Velásquez Barón, Fredy Alberto. "Reseña: Una escalera al cielo." Revista Científica General José María Córdova 11, no. 11 (2013): 307. http://dx.doi.org/10.21830/19006586.224.
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Una escalera al cielo es una lectura dinámica dada la variedad temática de las historias que la componen. A su vez, es una colección de retratos capitalinos y colombianos que desestabilizan por su intensidad al lector que quiere entrar en contacto con otras experiencias de vida. Su título hace referencia a la canción Stairway to Heaven del grupo de rock inglés Led Zeppelin, conectándose temáticamente con la propuesta del tema musical: se cree que todo lo que brilla es oro pero la vida abre varios caminos, a algunos les toca o escogen el camino difícil; ese camino es el hilo en común que conecta las historias de este libro, brindándonos relatos que con sencillez narran experiencias intensas de los habitantes de este país y de esta ciudad.
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Zhang, Kathleen Ying-Ying, Aybar Aydin, Vlad Baran, Richard King, and Wieslaw Woszczyk. "Musician-led performance perspectives in virtual acoustics." Journal of the Acoustical Society of America 155, no. 3_Supplement (2024): A129. http://dx.doi.org/10.1121/10.0027048.
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Musical performance is a complex task that involves juggling performance techniques, creative expression and auditory feedback, all of which in turn affect a musician’s perception of their acoustic environment. Synthesized here are several recent studies conducted at McGill University in variable acoustic spaces: the Multimedia Room (with a Meyer Constellation system) and the Immersive Media Lab (utilizing a proprietary Virtual Acoustics Technology system). In studying the perception of room response, variable acoustic environments allow researchers to physically and/or virtually change the character of a space around a musician without the need for a physical venue relocation. These experiments explore different methodologies and approaches to studying the perception of room acoustic response of various vocalists and instrumentalists who completed both solo and group performance tasks. After contextualizing these studies with previous work done in this area, lessons recently learned point towards new methodologies for musician-led perspectives on room perception.
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Balzano, Gerald J. "What Are Musical Pitch and Timbre?" Music Perception 3, no. 3 (1986): 297–314. http://dx.doi.org/10.2307/40285339.
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This article is addressed both to psychologists interested in theories of pitch and timbre perception and to musicians interested in exploring pitch and/or timbral structures on a computer. A central assertion of the article is that these two enterprises are closely related and that both have been dominated by Fourier-analytic metaphors. I claim that Fourier analysis provides an inadequate model for both sound perception and computer analysis/synthesis of sound. In particular, it has led us to misconceive the relationship between musical pitch and timbre. Rather than modify or augment a Fourier-based perspective on these matters, I propose a different way of thinking about pitch and timbre that highlights their differences from one another and suggests different mechanisms for perceiving them. A view of musical pitch is summarized that treats pitches not as analyzable in isolation but as specifiable only with respect to a larger structure that, in Western music anyway, corresponds to a mathematical group. Following this, a view of musical timbre is summarized that links timbre perception with the dynamic processes by which sound is created, processes that are encountered and initiated outside as well as inside musical contexts and that never lead to the static-spectrum idealization of Fourier analysis except in degenerate cases. Implications of these views for creation of musical sounds by computer are also discussed.
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Bussotti, Luca, and Laura António Nhaueleque. "The Hidden Music of a Hidden People: The Case of Amakhuwa of Northern Mozambique." Ethnomusicology 67, no. 3 (2023): 358–82. http://dx.doi.org/10.5406/21567417.67.3.05.
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Abstract Amakhuwa is an ethnic and linguistic group concentrated in the north of Mozambique. Although the largest ethnic group, it has been historically marginalized by the postcolonial Mozambican state for political reasons. This process of marginalization has also involved cultural aspects, such as music and dance. Amakhuwa musical traditions are differentiated, complex, and express common principles of a Emakhuwa epistemology. This epistemology and the performances and aesthetics it gives rise to are not fixed or timeless but have been evolving in accordance with different influences and historical periods. Influences from the ngoma competitive Swahili and Muslim musical traditions of East Africa are more visible in Emakhuwa music and dance on the coast, while in the interior territories, there is a prevalence of Bantu rhythms. Using postcolonial and decolonial writers as a base for the theoretical framework, this article highlights the epistemology involved in the different forms of Emakhuwa music and dance as well as the historical processes that led to their exclusion from Mozambican national culture.
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Lecourt, Edith, and Violeta Hemsy de Gainza. "L’animatrice étrangère et la question de l’accordage de l’instrument émotionnel en groupe." Revue de psychothérapie psychanalytique de groupe 26, no. 1 (1996): 73–87. http://dx.doi.org/10.3406/rppg.1996.1324.
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Foreing Group Leaders and the Question of the Tuning of the Emotional Instrument in Groups. Two workshops organized in Buenos Aires in August 1995 and centered on sonorous-musical improvisations in the group showed how differences in language and culture between the French group leader and the members of the group (Argentineans) led to work on expression, elaboration and symbolization of emotions. The two groups, one of which was composed of a majority of musicians, the other of a majority of clinicians, developed two different levels of functioning, one more secondary and genital, the other more primary and pregenital. But both groups, the elaboration of emotions led to the creation of a «minimalist» music and to the use of the instrument and some specific rhythms in relation to cultural identity. The question of difference and relationship to the foreigner was developed through persons and instruments to the body-instrument and to the strangeness of the emotion itself.
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Ursegova, Natalia A. "WEDDING MUSICAL AND POETIC FOLKLORE OF RUSSIAN POPULATION OF THE SOUTHERN URAL." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 258–67. http://dx.doi.org/10.37816/2073-9567-2020-58-258-267.
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The paper displays the results of research of musical and stylistic features of the repertoire of the Russian wedding recorded in expeditions of the 90-ies of the 20th century in mining villages of the Beloretsk district of Bashkortostan by students and teachers of the Magnitogorsk state University. The author uses comprehensive approach in the analysis of ritual texts, taking into account the results of philological, ethnographic and musicological classification, which allows systematizing the repertoire of the Belarusian wedding, and distinguishing two musical-style groups — lament-singing and song-and-dance. The musical-style group combines a part of the wedding repertoire, which is characterized by a certain set of typical features that reflect the specifics of the form, genre, and content of songs in their direct relationship with the condition and place of performance in the rite. The analysis of musical and stylistic originality of Russian wedding songs and lamentations is carried out at the level of verbal, syllabic, and pitch parameters of chanting organization. Regularities specified for the first time led to a conclusion about the musical and stylistic unity of local ritual and non-ritual folklore genres, which ensures not only the preservation of the corpus of wedding songs and wedding rites, but also the vitality of the local singing tradition as a whole. The paper also suggests that search for the origins of the local folklore tradition should be carried out in the Northern Russian European region, which is characterized by a lamenting (dramatic) type of the wedding ritual.
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Balint, Sue. "Into the Woods: Excavated Journal Entries from a Tent East of Peterborough." Canadian Theatre Review 129 (January 2007): 30–33. http://dx.doi.org/10.3138/ctr.129.006.
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R. Murray Schafer’s Patria Cycle is a twelve-part series of musical dramas that represents over thirty years of development and production. During the summer of 2006, I joined a group of artists and researchers in developing a rural site, where Asterion, one part of that cycle, will eventually be staged. Our work camp involved projects ranging from sculpture and gardening to trailblazing and straw bale construction. Living and working on that site,focused on Schafer’s attention to both the natural and composed sound environments, led to the thoughts collected here.1
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Edmunds, Neil. "Aleksandr Davidenko and Prokoll." Tempo, no. 182 (September 1992): 2–5. http://dx.doi.org/10.1017/s004029820001665x.
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As a result of the October Revolution, the ideas and activities that had been confined to an artistic, intellectual, or aristocratic minority, became overnight the property of the masses. In September 1918, the musicologist and educationalist Nadezhda Bryusova spelt out the role of music in the new society – ‘Music should give a capacity to live and a capacity to build life’. Led by the musical departments of Narkompros (the Ministry of Education and Culture) and Proletkul't (the proletarian cultural-education organizations), concerted efforts were made to break down the barriers between professional musicians, composers, and the general public. Attempts were also made to raise the standards of musical knowledge amongst the new audience. However, it soon became apparent that there was a need for a new breed of composer who was in tune with the desires and aspirations of the new society. A group of politically-minded composers which soon fell into this category was formed at the Moscow Conservatory in January 1925 as a result of a competition to compose a work commemorating the first anniversary of Lenin's death. That group was known as Prokoll, an abbreviation of Proizvodstvennii kollektiv(Production Collective).
Dissertations / Theses on the topic "Led Zeppelin (Musical group)"
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Smith, Mandy J. "“Primitive” Bodies, Virtuosic Bodies: Narrative, Affect, and Meaning in Rock Drumming." Case Western Reserve University School of Graduate Studies / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=case1589971850375113.
Full textBooks on the topic "Led Zeppelin (Musical group)"
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Cole, Richard. Stairway to heaven: Led Zeppelin uncensored. HarperCollins Publishers, 1992.
Find full textBook chapters on the topic "Led Zeppelin (Musical group)"
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Proverbio, Alice Mado, and Alberto Zani. "Mirror Neurons in Action: ERPs and Neuroimaging Evidence." In Social and Affective Neuroscience of Everyday Human Interaction. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-08651-9_5.
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Abstract According to V.S. Ramachandran (inaugural ‘Decade of the Brain’ lecture at Society for Neuroscience meeting), ‘mirror neurons are to neuroscience what DNA was to biology’. Their discovery (by Rizzolatti’s group) led to the understanding of how hominids rapidly evolved through imitation and cultural transmission in the last 100,000 years. In this chapter, we will review the role of human mirror neuron system (MNS) in several mental and brain functions including: interacting with the environment, grasping objects, empathy and compassion for others, empathizing, emulation and emotional contagion, observing and imitating, learning sports, motor skills and dance, motor rule understanding, understanding the intentions of others, understanding gestures and body language, lip reading, recognizing actions by their sounds, learning to play a musical instrument. The chapter is enriched with a discussion of possible criticalities and caveats.
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Headlam, Dave. "Blues Transformations in the Music of Cream." In Understanding Rock. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195100044.003.0003.
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Abstract In 1966, guitarist Eric Clapton joined with bass player Jack Bruce and drummer Ginger Baker to form the rock trio Cream. While Clapton tended toward a style of electric blues close to the Mississippi Delta and Chicago blues songs he venerated, with the combination of Bruce’s elaborate bass lines and Baker’s jazz-influenced drumming Cream quickly became the best known of the original “power trio” blues-based rock bands and prepared the ground for the later group Led Zeppelin to begin the transition from blues-based rock to heavy metal. Cream’s assimilation and transformation of blues songs and styles is part of the widespread influence of American popular music—jazz, blues, rhythm and blues, and rock ‘n’ roll—on the development of British rock music in the late 1950s and 1960s. While this influence has been well documented in its biographical, historical, cultural, and sociological aspects, the purely musical features of the various transformations, such as Cream’s recasting of blues songs into rock songs, have received less attention.
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Carlos, Caitlin Vaughn. "10 Historical Nostalgia, Nature, and the Future in Th ree Iconic Albums from 1971: Aqualung, Who’s Next, and Led Zeppelin IV." In Postmodernity's Musical Pasts. Boydell and Brewer, 2020. http://dx.doi.org/10.1515/9781787446267-016.
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Holm-Hudson, Kevin. "Salvatore Martirano (1927–1995)." In Interviews with American Composers. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252043994.003.0015.
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Holm-Hudson places the interview while Martirano was developing his Sal-Mar synthesizer, and notes musical ideas raised in its construction. Childs and Martirano discuss his improvisation group; how problems with live performance led to the genesis of the Sal-Mar; technical problems in its development; how it has changed Martirano’s approach to music as sound; his past works (Underworld, Ballad, L’s G.A., Cocktail Music); the University of Illinois and virtuoso performers; listening, hearing and the repeatability of performances; the process of composition; and the product. Martirano wants to move speakers around instead of static antiphony. They discuss human control against predetermined machine control; clichés; the distribution of sounds and solo and accompaniments in the new work; live performances and recordings.
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Fröhle, Simon, Benjamin Schürch, Stefan Wettengl, and Harald Floss. "Middle Paleolithic Open-Air Sites of the Swabian Jura." In The Rhine During the Middle Paleolithic: Boundary or Corridor? Kerns Verlag, 2024. http://dx.doi.org/10.51315/9783935751353.002.
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For several decades, Paleolithic research in the Swabian Jura has mainly focused on the numerous cave sites situated in the Ach and Lone valleys. These sites, such as Vogelherd, Hohle Fels, Geißenklösterle or Hohlenstein-Stadel, are famous for producing evidence for the world’s oldest figurative art and musical instruments, dating to the Aurignacian, and have also yielded important Middle and Upper Paleolithic assemblages. In recent years, the work group directed by H. Floss has begun to intensify research efforts regarding Paleolithic open-air sites in the Swabian Jura and adjacent areas. With the discovery of the Aurignacian open-air site of Königsbach-Stein near Pforzheim as a starting point, ongoing systematic surveys led to the discovery of the site of Börslingen-Eisenberg in 2009. The site is situated directly on an outcrop of Jurassic chert and has yielded c. 300 Middle Paleolithic artifacts, including Keilmesser, other bifacial elements and a strong Levallois component, as well as some Upper Paleolithic pieces. The local raw material was used in nearby cave sites, e.g., Bockstein (Middle Paleolithic context) and Vogelherd (Upper Paleolithic context).
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Quevedo, Marysol. "Neoclassicism Meets 1940s Pan Americanism." In Cuban Music Counterpoints. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197552230.003.0002.
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Abstract This chapter explores the activities of the Grupo de Renovación Musical (GRM) during the 1940s by laying out the political and economic contexts of 1940s Pan Americanism. It delves into the group’s aesthetic preoccupations and their efforts to reconcile neoclassical approaches with nationalist aesthetics, and their activities within the GRM as a process of maturation. A brief examination of La música en Cuba, the first book to present a chronological history of Cuban music written in 1946 by Alejo Carpentier, follows. This chapter includes musical analysis of two works, Argeliers León’s Sonatas a la Virgen del Cobre and Harold Gramatges’s Sernata, as prime examples of the group’s compositional output. During the 1940s group members shaped the Cuban classical music scene by cultivating a series of overlapping networks that allowed them to gain access to and control of resources through which they promoted their artistic agendas. Little by little they accrued the cultural capital that would make them the leaders of the Cuban music scene through the 1950s and into the first decades after the 1959 Revolution. This network consisted of local musicians; international composers and performers; other local artists that included painters, sculptors, dancers, poets, novelists, and film makers; and government institutions and the individuals who led them. It was in this decade, the 1940s, that the paths chosen, alliances forged, and aesthetic preferences explored and cemented would determine the future of the Cuban classical music composition tradition, a tradition that bears their legacy to this day.
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Sultanof, Jeffrey. "Jazz Repertory." In The Oxford Companion To Jazz. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125108.003.0039.
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Abstract The phrase jazz repertory has many definitions and dimensions. Perhaps the most basic definition is: the study, preservation, and performance of the many diverse musical styles in jazz. In recent years, the phrase most often applies to big bands and jazz ensembles performing classic and new music written for reeds, brass, and rhythm section in various sizes and combinations. In a sense, the small-group jazz repertoire movement began in the late 1930s. There had always been a core of traditional jazz fans and artists during the big band era, but a national focus on older styles was evident from new recordings made in the late ‘30s by Jelly Roll Morton, the Original Dixieland Jazz Band, Sidney Bechet, et al. The rediscovery of trumpeter Bunk Johnson prompted new activity in older styles by such ensembles as those led by Lu Watters and Turk Murphy. Younger musicians such as Bob Wilber and Kenny Davern felt more sympathy with the music of an earlier era. Wilber even studied with his hero, Sidney Bechet, and became his protege. Further interest in older styles of jazz was prompted by the publication of They All Played Ragtime, written by Rudi Blesh and Harriet Janis. Blesh’s own record label, Circle, concentrated on ragtime and older jazz styles.