Relevant bibliographies by topics / Rock music – Brazil - History and criticism

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  2. Dissertations / Theses
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Academic literature on the topic 'Rock music – Brazil - History and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Rock music – Brazil - History and criticism"

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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 epoch
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McLEOD, KEMBREW. "‘*1/2’ a critique of rock criticism in North America." Popular Music 20, no. 1 (2001): 47–60. http://dx.doi.org/10.1017/s0261143001001301.

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As a particular type of gatekeeper, rock critics play a significant role in shaping the representations of artists for an admittedly small, but influential, population, as well as establishing an artist's place in music history. In Sound Effects, Simon Frith (1983) maintains that rock critics are ‘opinion leaders’ and are the ‘ideological gatekeepers’ of the community for which they write. Additionally, I argue that rock critics function as Gramscian ‘organic intellectuals’ who articulate the ideas held by the population of which they are a part (Gramsci 1971, pp. 5-14). The community that roc
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Powers, Devon. "Bruce Springsteen, Rock Criticism, and the Music Business: Towards a Theory and History of Hype." Popular Music and Society 34, no. 2 (2011): 203–19. http://dx.doi.org/10.1080/03007761003726472.

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Souza, Alberto Carlos de. "The language of the art of music: an overview of its history in Brazil." Humanum Sciences 3, no. 1 (2021): 32–40. http://dx.doi.org/10.6008/cbpc2674-6654.2021.001.0004.

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This study sought to re-visit the two conceptions of Art – pedagogical and reflective - forged throughout history and its relationship with the Brazilian aesthetic thought of resistance. From the 60's, such thinking has given a pedagogical purpose to art, charged with the task of social criticism and political engagement human emancipatory: in this scenario mainly determined by the Theater of the Oppressed, the new movies and the protest song by Milton Nascimento, , Caetano Veloso, Chico Buarque, Gilberto Gil, among many others.
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Oliveira Medeiros, Isabella, Simone Evangelista, and Simone Pereira de Sá. "Rock versus pop: symbolic disputes at Rock in Rio music festival." Arts and the Market 11, no. 2 (2021): 136–46. http://dx.doi.org/10.1108/aam-09-2020-0043.

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PurposeThe paper aims to discuss the tensions between rock and pop genres at Rock in Rio, the most significant music festival in Brazil (which also has had international editions in Portugal, Spain and the USA), analyzing the construction and consolidation of Rock in Rio as a rock-related brand and mapping the disputes, negotiations and controversies between rock and pop music fans.Design/methodology/approachThe authors analyze those facts from a framework composed by discussions about musical genres (Frith, 1996; Blacking, 1995), social constructions about rock and pop, as well as debates abo
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KEISTER, JAY, and JEREMY L. SMITH. "Musical ambition, cultural accreditation and the nasty side of progressive rock." Popular Music 27, no. 3 (2008): 433–55. http://dx.doi.org/10.1017/s0261143008102227.

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AbstractProgressive rock of the early 1970s has been demonised as a nadir in the history of rock primarily because of the ambitions of progressive rock musicians. Critics have interpreted these ambitions as attempts to elevate rock music to the level of high art in order to gain cultural accreditation from an unspecified cultural elite. This interpretation is further compounded by the common notion that progressive rock’s subject matter is dominated more by individualistic quests for spirituality than by socio-political critique, resulting in a stereotype of progressive rock as apolitical, pre
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Jayakumara, I. Gde. "THE DOORS DAN TRAGEDI NIETZSCHENIAN." Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan 15, no. 28 (2016): 114–17. http://dx.doi.org/10.32795/ds.v15i28.64.

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As Nietzsche criticized the modernity to its deepest notion, rationality, The Doors did their criticism through their songs, especially through the stage acts with full of drunkenness and brutality. According to Nietzsche, the contradictions of de facto life cannot be handled by relying on the rationality since it has boundaries and, anyway, the human is the life itself, thereby, he must create a selfhood (the self). He should be inside the life. Inevitably, The Doors music group was considered the most brutal band in the history of rock music. However, within the framework of the Nietzschean
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Raeburn, Susan D. "The Ring of Fire: Shame, Fame, and Rock 'n' Roll." Medical Problems of Performing Artists 22, no. 1 (2007): 3–9. http://dx.doi.org/10.21091/mppa.2007.1002.

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A healthy sense of shame is a source of personal power—it acknowledges that to be human is to be limited, provides humility, connects one with his or her core dependency needs, and allows people to ask for help when necessary. Toxic shame, on the other hand, becomes a core identity of worthlessness and a motivator of self-destructive and addictive behavior. Toxic shame is the byproduct of insecure attachments and shame-based family rules and systems and is transferred across generations unconsciously and procedurally via criticism, rejection, invalidation, verbal or physical abuse, and other f
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Mitchell, Gillian A. M. "‘Mod Movement in Quality Street Clothes’: British Popular Music and Pantomime, 1955–75." New Theatre Quarterly 33, no. 3 (2017): 254–76. http://dx.doi.org/10.1017/s0266464x17000306.

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From the late 1950s onwards, young rock ‘n’ roll musicians and popular singers were introduced into commercial Christmas pantomime productions. While this practice, which constituted an extension of their involvement in the broader sphere of variety theatre, has been previously noted, it is seldom accorded much sustained attention. In this article Gillian Mitchell explores the impact which such performers made upon pantomime, while observing the ways in which involvement in pantomime productions affected their careers and aspirations. ‘Pop stars’ brought much-needed revenue to struggling theat
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Cruz, Danielle Maia, and Michael B. Silvers. "Maracatunaíma musical semiotics, the Northeastern imaginary and the sound of Fortaleza." Vibrant: Virtual Brazilian Anthropology 8, no. 1 (2011): 229–59. http://dx.doi.org/10.1590/s1809-43412011000100009.

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This article argues that Eletrocactus, a rock band based in Fortaleza, Ceará, Brazil, attempts to construct a new regional imaginary by citing pre-existing musical signs of their city, state and nation while also creating new musical vocabularies. In doing so, they participate in various discourses concerning local, regional and national identity. For the members of the band, their music generates feelings of self-recognition and promotes the preservation and production of local culture. Engaging a theory of musical semiotics, this article analyzes recordings and presentations of the band Elet
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Dissertations / Theses on the topic "Rock music – Brazil - History and criticism"

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Souza, Gisele da Silva. "“Somos quem podemos ser”: Engenheiros do Hawaii - jovens, rock, sensibilidades e experiências urbanas (1985-2003)." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21533.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-05T13:01:48Z No. of bitstreams: 1 Gisele da Silva Souza.pdf: 1669038 bytes, checksum: bedf2a7d0febbdf58b1255335d75ed4a (MD5)<br>Made available in DSpace on 2018-11-05T13:01:48Z (GMT). No. of bitstreams: 1 Gisele da Silva Souza.pdf: 1669038 bytes, checksum: bedf2a7d0febbdf58b1255335d75ed4a (MD5) Previous issue date: 2018-09-14<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This dissertation investigates the work of Engenheiros do Hawaii and the emergence of the generation of young people in the 1980s,
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Feitosa, Therence Santiago Alves. "O pop rock brasileiro nos anos de 1980: mídia, produção de sentidos e a representação de uma geração." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21392.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-29T11:34:11Z No. of bitstreams: 1 Therence Santiago Alves Feitosa.pdf: 1035575 bytes, checksum: ba349bb5cad3001f254414b7f8047d8c (MD5)<br>Made available in DSpace on 2018-08-29T11:34:11Z (GMT). No. of bitstreams: 1 Therence Santiago Alves Feitosa.pdf: 1035575 bytes, checksum: ba349bb5cad3001f254414b7f8047d8c (MD5) Previous issue date: 2018-06-12<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The present investigation focuses on analyzing some songs produced in the 1980s by the bands Legião Urbana, Tit
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Brennan, Matthew. "Down beats and rolling stones : an historical comparison of American jazz and rock journalism." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/222.

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Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discurs
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Burns, Robert, and n/a. "Transforming folk : innovation and tradition in English folk-rock music." University of Otago. Department of Music, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080701.132922.

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From a mixed methodology perspective that includes ethnology, musicology and cultural anthropology, I argue that, despite initial detachment from folk revivalism, English folk-rock has moved closer to aspects of tradition and historical status and has embraced a revivalist stance similar to that of the folk revivals that occurred earlier in the twentieth century. Whereas revivalism often rejects manifestations of mass culture and modernity, I also argue that the early combinations of folk music and rock music demonstrated that aspects of preservation and commercialisation have always co-existe
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Guy, Stephen. "The nature of community in the Newfoundland rock underground /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81493.

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Twenty-five years of independent, underground, or punk rock music-making in St. John's, Newfoundland, have been defined by geographic isolation. In tracing a historical record of the small city's punk/indie scene, this project seeks to evaluate recent academic discussion surrounding the role of collectivity in artistic 'independence' and examine the impact of prevailing international aesthetics and changing communication technologies on local practice. The self-containment and self-sufficiency of the St. John's music community, largely the product of the city's isolated position on the
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Bozelka, Kevin John. ""Getting beyond" : SPIN magazine in the late 1980s." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82688.

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The Eighties were a time in Western popular music that seemed to exist only by virtue of it coming after something else---namely, the 1960s counterculture and the punk rock of the 1970s. Inheriting both the failure of permanent cultural revolution and the intense cynicism that is punk's strongest legacy, youth cultures in the 1980s found it increasingly difficult to live in the present. This thesis labels this historical dilemma postmodern. It will show how SPIN magazine attempted to move past this dilemma in order to assert a unique identity for 1980s popular music and youth cultures.
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Dymock, Laura. "No compromise with their society : the politics of anarchy in anarcho-punk, 1977-1985." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101878.

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In order to analyze the relationship of punk to anarchy, this thesis will investigate the discursive function of "anarchy" both in contemporaneous accounts of punk and in subsequent histories. Beginning with the genesis of British punk and the first references to anarchy in different media during the late 1970s, subsequent chapters focus on the seminally influential anarcho-punk band Crass in order to discern their impact on the evolution of the anarcho-punk genre and its relationship to anarchism up through the mid-1980s. Several other anarcho-punk bands will also be considered for their cont
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王湖. "沉悶的聲音 : 中國搖滾樂的情感政治 = Sounds of boredom : the affective politics of Chinese rock 'n' roll". HKBU Institutional Repository, 2005. http://repository.hkbu.edu.hk/etd_ra/621.

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DiGiallonardo, Richard L. (Richard Lee). "Musical Borrowing: Referential Treatment in American Popular Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.

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This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advanceme
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Klopper, Annie Elizabeth. "Die opkoms van Afrikaanse rock en die literêre status van lirieke, met spesifieke verwysing na Fokofpolisiekar." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2201.

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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2009.<br>The aim of this study is to examine the rise of Afrikaans rock music and the literary status of Afrikaans rock lyrics, with Fokofpolisiekar as example. An investigation is done into how the specific sociopolitical context within which Afrikaans rock music developed manifests in lyrics and musical style. The implications of Afrikaans rock with regards to the identity of Afrikaner youth in the new millennium are also explored. A case study of the Afrikaans punk rock group Fokofpolisiekar is done by way of demonstration of t
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Books on the topic "Rock music – Brazil - History and criticism"

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Júnior, Carlos Alves. Rock Brasil: O livro. Editora Esfera, 2003.

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Brandini, Valéria. Cenários do rock: Mercado, produção e tendências no Brasil. Editoria Olho d'Agua, 2004.

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Alexandre, Ricardo. Dias de luta: O rock e o Brasil dos anos 80. DBA, 2002.

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Alexandre, Ricardo. Dias de luta: O rock e o Brasil dos anos 80. 2nd ed. Arquipélago Editorial, 2013.

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Machado, Ismael. Decibéis sob mangueiras: Belém no cenário rock Brasil dos anos 80. Editora Grafinorte, 2004.

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Machado, Ismael. Decibéis sob mangueiras: Belém no cenário rock Brasil dos anos 80. Editora Grafinorte, 2004.

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Os pioneiros do rock'n'roll brasileiro: Evolução da música jovem no Brasil : período 1955-1965. All Print Editora, 2011.

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Rodrigues, Nélio. Os Rolling Stones no Brasil: Do descobrimento à conquista, 1968-1999. Ampersand Editora, 2000.

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Rock music. Ashgate, 2011.

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Rock/Music writings. Primary Information, 2009.

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Book chapters on the topic "Rock music – Brazil - History and criticism"

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"The Music’s Not All That Matters, After All: British Progressive Rock as Social Criticism." In The Routledge History of Social Protest in Popular Music. Routledge, 2013. http://dx.doi.org/10.4324/9780203124888-18.

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