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

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

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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2

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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3

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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4

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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5

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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9

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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10

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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11

Stoikiv, Andrii. "THE ROLE OF THRASH METAL IN THE FORMATION OF EXTREME HEAVY MUSIC (BASED ON THE INTERVIEW OF MUSICIANS)." Scientific Herald of Uzhhorod University. Series: History, no. 1 (44) (June 27, 2021): 160–68. http://dx.doi.org/10.24144/2523-4498.1(44).2021.232681.

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The article is devoted to defining the role of thrash metal music in the foundation of extreme heavy music in the late 1980s and early 1990s. Attention focused on the importance of a separate sub-genre of heavy metal music in forming a new style of heavy music, including new vocal techniques, building more complex compositions, and expanding the lyrics' themes. Analyzed the criteria by which extreme heavy music can attribute among other sub-genres of heavy metal and defined thrash metal as a transitional stage between heavy metal and extreme music. The work is interdisciplinary, which manifest

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12

Stewart, Jon. "Oh Blessed Holy Caffeine Tree: Coffee in Popular Music." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.462.

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Introduction This paper offers a survey of familiar popular music performers and songwriters who reference coffee in their work. It examines three areas of discourse: the psychoactive effects of caffeine, coffee and courtship rituals, and the politics of coffee consumption. I claim that coffee carries a cultural and musicological significance comparable to that of the chemical stimulants and consumer goods more readily associated with popular music. Songs about coffee may not be as potent as those featuring drugs and alcohol (Primack; Schapiro), or as common as those referencing commodities li

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13

Souza, Alberto Carlos de. "The Language of the Art of Music: An Overview of Its History in Brazil." Asian Research Journal of Arts & Social Sciences, May 7, 2021, 34–41. http://dx.doi.org/10.9734/arjass/2021/v14i130228.

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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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14

Jones, Steve. "Seeing Sound, Hearing Image." M/C Journal 2, no. 4 (1999). http://dx.doi.org/10.5204/mcj.1763.

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“As the old technologies become automatic and invisible, we find ourselves more concerned with fighting or embracing what’s new”—Dennis Baron, From Pencils to Pixels: The Stage of Literacy Technologies Popular music is firmly rooted within realist practice, or what has been called the "culture of authenticity" associated with modernism. As Lawrence Grossberg notes, the accelleration of the rate of change in modern life caused, in post-war youth culture, an identity crisis or "lived contradiction" that gave rock (particularly) and popular music (generally) a peculiar position in regard to notio

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15

Jaakkola, Maarit. "Forms of culture (Culture Coverage)." DOCA - Database of Variables for Content Analysis, March 26, 2021. http://dx.doi.org/10.34778/2x.

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This variable describes what kind of concept of culture underlies the cultural coverage at a certain point of time or across time. The variable dissects the concept of culture into cultural forms that are being journalistically covered. It presupposes that each article predominantly focuses on one cultural genre or discipline, such as literature, music, or film, which is the case in most articles in the cultural beat that are written according to cultural journalists’ areas of specialization. By identifying the cultural forms covered, the variable delivers an answer to the question of what kin

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16

Burns, Alex. "'This Machine Is Obsolete'." M/C Journal 2, no. 8 (1999). http://dx.doi.org/10.5204/mcj.1805.

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'He did what the cipher could not, he rescued himself.' -- Alfred Bester, The Stars My Destination (23) On many levels, the new Nine Inch Nails album The Fragile is a gritty meditation about different types of End: the eternal relationship cycle of 'fragility, tension, ordeal, fragmentation' (adapted, with apologies to Wilhelm Reich); fin-de-siècle anxiety; post-millennium foreboding; a spectre of the alien discontinuity that heralds an on-rushing future vastly different from the one envisaged by Enlightenment Project architects. In retrospect, it's easy for this perspective to be dismissed as

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17

Kellner, Douglas. "Engaging Media Spectacle." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2202.

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In the contemporary era, media spectacle organizes and mobilizes economic life, political conflict, social interactions, culture, and everyday life. My recently published book Media Spectacle explores a profusion of developments in hi-tech culture, media-driven society, and spectacle politics. Spectacle culture involves everything from film and broadcasting to Internet cyberculture and encompasses phenomena ranging from elections to terrorism and to the media dramas of the moment. For ‘Logo’, I am accordingly sketching out briefly a terrain I probe in detail in the book from which these exampl

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18

Glover, Bridgette. "Alternative Pathway to Television: Negotiating Female Representation in Broad City’s Transition from YouTube to Cable." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1208.

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IntroductionFor both consumers and creators, Web series have been viewed for some time as an appealing alternative to television series. As Alice explains, creating content for the Web was once seen as “a last resort” for projects that were unable to secure funding for television production (59). However, the Web has, in recent years, become a “legitimized” space, allowing Web series to be considered a media platform capable of presenting narratives of various genres (Alice 59). Moreover, due to the lack of restrictions and overheads placed on Web producers, it is argued that there is more cap

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19

Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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   Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi

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20

Brien, Donna Lee. "Disclosure in Biographically-Based Fiction: The Challenges of Writing Narratives Based on True Life Stories." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.186.

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As the distinction between disclosure-fuelled celebrity and lasting fame becomes difficult to discern, the “based on a true story” label has gained a particular traction among readers and viewers. This is despite much public approbation and private angst sometimes resulting from such disclosure as “little in the law or in society protects people from the consequences of others’ revelations about them” (Smith 537). Even fiction writers can stray into difficult ethical and artistic territory when they disclose the private facts of real lives—that is, recognisably biographical information—in thei

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21

Mizrach, Steven. "Natives on the Electronic Frontier." M/C Journal 3, no. 6 (2000). http://dx.doi.org/10.5204/mcj.1890.

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Introduction Many anthropologists and other academics have attempted to argue that the spread of technology is a global homogenising force, socialising the remaining indigenous groups across the planet into an indistinct Western "monoculture" focussed on consumption, where they are rapidly losing their cultural distinctiveness. In many cases, these intellectuals - people such as Jerry Mander -- often blame the diffusion of television (particularly through new innovations that are allowing it to penetrate further into rural areas, such as satellite and cable) as a key force in the effort to "a

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22

Kincheloe, Pamela J. "The Shape of Air: American Sign Language as Narrative Prosthesis in 21st Century North American Media." M/C Journal 22, no. 5 (2019). http://dx.doi.org/10.5204/mcj.1595.

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The word “prosthetic” has its origins as a mathematical term. According to scholar Brandon W. Hawk, Plato uses the words prosthesis and prostithenai in Phaedo to mean "addition, add to, to place", and Aristotle uses it in a similar, algebraic sense in the Metaphysics. Later, as the word appears in classical Latin, it is used as a grammatical and rhetorical term, in the sense of a letter or syllable that is added on to a word, usually the addition of a syllable to the beginning of a word, hence pro-thesis (Hawk). This is the sense of the word that was “inherited … by early modern humanists”, sa

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Marsh, Victor. "The Evolution of a Meme Cluster: A Personal Account of a Countercultural Odyssey through The Age of Aquarius." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.888.

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Introduction The first “Aquarius Festival” came together in Canberra, at the Australian National University, in the autumn of 1971 and was reprised in 1973 in the small rural town of Nimbin, in northern New South Wales. Both events reflected the Zeitgeist in what was, in some ways, an inchoate expression of the so-called “counterculture” (Roszak). Rather than attempting to analyse the counterculture as a discrete movement with a definable history, I enlist the theory of cultural memes to read the counter culture as a Dawkinsian cluster meme, with this paper offered as “testimonio”, a form of q

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Leurs, Koen, and Sandra Ponzanesi. "Mediated Crossroads: Youthful Digital Diasporas." M/C Journal 14, no. 2 (2010). http://dx.doi.org/10.5204/mcj.324.

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What strikes me about the habits of the people who spend so much time on the Net—well, it’s so new that we don't know what will come next—is in fact precisely how niche in character it is. You ask people what nets they are on, and they’re all so specialised! The Argentines on the Argentine Net and so forth. And it’s particularly the Argentines who are not in Argentina. (Anderson, in Gower, par. 5) The preceding quotation, taken from his 1996 interview with Eric Gower, sees Benedict Anderson reflecting on the formation of imagined, transnational communities on the Internet. Anderson is, of cour

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