Relevant bibliographies by topics / Rock music History and criticism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Rock music History and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Rock music History and criticism"

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Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.

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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epochal moments become transforming symbols of divestment; here, a commitment writ into rock criticism as one in which rock emerged by giving up something that had been holding it back. Through a study of this 1965 moment, as well as the history of electrification that preceded it and its subsequent commentarial reception, the unreflective secular of rock criticism is exposed.
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McLEOD, KEMBREW. "‘*1/2’ a critique of rock criticism in North America." Popular Music 20, no. 1 (January 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 rock critics represent and speak for is made up of an overlapping network that comprises those connected with college radio, record collectors, local music scene participants, musicians and various record company employees, among others. Frith (1996, p. 18) argues in Performing Rites that if ‘social relations are constituted in cultural practice, then our sense of identity and difference is established in the process of discrimination’. By understanding the ways in which evaluations are made within the communities that rock critics are a part of, we can gain a better understanding of the communities themselves. Because there are no sustained scholarly writings that examine rock criticism in North America from a historical, sociological or communicative perspective, it is important to begin examining the profession of the rock critic, as well as the discourse generated by rock criticism.
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Becker, Tobias. "Only Rock and Roll? Rock Music and Cultures of Conservatism." German Yearbook of Contemporary History 7, no. 1 (2023): 108–36. http://dx.doi.org/10.1353/gych.2023.a907661.

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Abstract: Rock and roll traditionally appears to exhibit a rebellious, subversive, and progressive connotation. Such ascriptions, however, ignore not only subgenres such as Rechtsrock (right-wing extremist rock), but also criticism, present from the onset, that accused mainstream rock of merely portraying and supporting the status quo rather than questioning it. Is rock and roll therefore a conservative genre? What do terms such as conservative and progressive really mean when they are applied to pop culture, music, and specifically rock and roll? Which findings are used to support these attributions? The article investigates these questions along an abbreviated history of rock from the 1950s to the 1980s in transnational perspective. The contribution shows that, inasmuch as rock is rebellious at all, its rebelliousness can be directed against a mainstream culture which is perceived as progressive just as much as against one which is perceived as conservative.
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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 (May 2011): 203–19. http://dx.doi.org/10.1080/03007761003726472.

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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 (October 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, pretentious and conventionally upwardly mobile. Critics who have propagated this stereotype – including some musicologists – have misunderstood the countercultural politics of young musicians during this era and have overlooked the highly developed musical poetics of progressive rock that were in fact highly politicised. This paper examines four of the leading progressive rock bands of the early 1970s – Emerson, Lake and Palmer, King Crimson, Genesis and Yes – and reveals the nasty side of progressive rock: a scathing criticism of rampant militarism and social conformity that runs counter to the prevailing narrative in which the genre is dismissed as an escapist fantasy with an elitist agenda.
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Jayakumara, I. Gde. "THE DOORS DAN TRAGEDI NIETZSCHENIAN." Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan 15, no. 28 (October 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 tragedy, The Doors may be baptized in the name of god Dionysius – the god of drunkenness.
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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 (July 10, 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 theatres, and, while their presence onstage alongside experienced pantomime performers sometimes attracted criticism, they also contributed in many ways to a reinvigoration of the medium, whether by offering fresh scope for topical gags, or by giving ambitious producers the chance to more more experimental types of production. The article also questions the notion that, by the late 1960s, pantomime had become a ‘last refuge’ for those popular musicians who were apparently unable to maintain a foothold in the increasingly ‘serious’ world of rock music. Gillian A.M. Mitchell is a Lecturer in Modern History at the University of St Andrews. This article forms part of a larger project which explores adult reactions to popular music and inter-generational relations in Britain from the 1950s to the 1970s.
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Idzikowski, Kamil. "Między Kommune 1 a „niedzielną pieczenią”. Krautrock w świetle koncepcji komunizmu kwasowego." Praktyka Teoretyczna 40, no. 2 (July 15, 2021): 95–122. http://dx.doi.org/10.14746/prt.2021.2.5.

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The article examines selected phenomena of the so-called krautrock, i.e. West German rock music of the late 1960s and the 1970s. The analysis is based on Mark Fisher's concept of acid communism and the related issue of collective subjectivity. The author distinguishes two opposing tendencies in the music discussed, the first one being the fascination with the collective that goes back to the student protests of 1967–1968, and the second one being the (re)appreciation of individual perspective, which manifested itself e.g. in an increased interest in spirituality and a certain kind of social criticism performed from a distanced position. Focusing on the relationship between the individual and the group, the article analyzes a number of songs and albums that have received little or no attention from researchers up to now.
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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 (March 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 forms of emotional abandonment. This paper describes key psychological processes associated with shame and explores how they may interact with the business of popular music for musicians, using the publicly described life of Johnny Cash as a clinical example. Based on the events depicted in the 2006 film Walk the Line and his autobiography, this case study of Johnny Cash explores clinically significant events in his childhood and adult life and explores how shame processes may have been implicated in those events and their outcomes. This paper provides a speculative clinical overview of both life-affirming, protective factors and destructive toxic-shame factors in his life as played out in his drug addiction and eventual recovery.
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Wu, Xiaoyu, Zhun Zhao, Jinxi Zhao, Tian Xie, and Zihang Jason Huang. "A Study on the Correlation Between Third-wave Feminism and the Riot Grrrl Movement in the 1990s in the United States by Analyzing Bikini Kill and Bratmobile." Communications in Humanities Research 7, no. 1 (October 31, 2023): 105–13. http://dx.doi.org/10.54254/2753-7064/7/20230811.

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The main goal of this paper is to dive into the 1990s and try to understand the interrelation between third-wave feminism and the musical and political movement, Riot Grrrl, through careful analysis of two representative bands of the movement. With the understanding established, the paper would then try to analyze the reasons why the movement was ephemeral. Bikini Kill and Bratmobile, two specific bands symbolic of the Riot Grrrl movement would be investigated to appreciate the values of the movement with an analysis of their songs lyrics and live performances. Another close look at the mainstream media as well as male rock stars and listeners would be taken with the hope of gaining specific insights into the reasons and steps for the rapid decline of the movement. The result of the study shows a complex relationship between the Riot Grrrl movement and third-wave feminism that happened around the same period, in which neither one was fully dependent on the other and both promoted the improvement of the other. The ephemeral existence of the Riot Grrrl movement was also a direct cause of the young activists, weary of misinterpreted publicity, choosing their results not by their own will, but due to pressure from public media. In the intercorrelation of third-wave feminism and the Riot Grrrl movement, both movements affected each other in a way that feminism provided the foundation for which Riot Grrrl movement and Riot Grrrl reversely provided strength and intensity third-wave feminism with its distinct features of directness as well as auditory and visual violence. Despite similarities between the two, the Riot Grrrl movement eventually diverges away from third-wave feminism, withering away from history due to criticism that resulted in Riot Grrrls rejection of the mainstream criticism and misrepresentation of their images while leaving remnants of their rebellious spirit and distinct music that people today still are affected by.
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Dissertations / Theses on the topic "Rock music History and criticism"

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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 discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry.
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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-existed within this hybrid musical style. English folk-rock, a former progressive rock music style, has emerged in the post-punk era as a world music style that appeals to a broad spectrum of music fans and this audience does not regard issues such as maintenance of authenticity and tradition as key factors in the preservation process. Rock music has remained a stimulus for further change in folk music and has enabled English folk-rock to become regarded as popular music by a new audience with diverse musical tastes. When folk music was adapted into rock settings, the result represented a particular identity for folk music at that time. In a similar way, as folk music continues to be amalgamated with rock and other popular music styles, or is performed in musical settings representing new cultures and ethnicities now present in the United Kingdom, it becomes updated and relevant to new audiences. From this perspective, I propose that growth in the popularity of British folk music since the early 1970s can be linked to its performance as English folk-rock, to its connections with culture and music industry marketing and promotion techniques, and to its inclusion as a 1990s festival component presented to audiences as part of what is promoted as world music. Popularity of folk music presented at world music festivals has stimulated significant growth in folk music audiences since the mid-1990s and consequently the UK is experiencing a new phase of revivalism - the third folk revival.
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Stafford, Andrew. "Pig city : from The Saints to Savage Garden." Thesis, Queensland University of Technology, 2004.

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She comes from Ireland, she's very beautiful I come from Brisbane, and I'm quite plain Pig City - The Go-Betweens, Lee Remick If popular music really is a universal language, it's curious how easily a song - even a commercially obscure one - can come to symbolise a city's identity. The stories of London, Liverpool, Manchester, Dunedin, Detroit, Memphis, Nashville, New York, New Orleans, San Francisco and Seattle are inextricably entwined with the music made there. Robert Forster, however, could never have imagined that his self-deprecating paean to an actress would become so fabled in his home town. This is understandable. Queensland's often stifling subtropical capital doesn't exactly spring to mind when discussing the world's great musical cities. Partly this comes down to Australian pop and rock's poor-relation status next to the United States and the United Kingdom. Inside Australia, too, Brisbane for decades wore a provincial reputation as a big country town, at least in the southern capitals of Sydney and Melbourne. Of course, one of the most successful bands in recording history began life in Brisbane in the late 1950s. But the Bee Gees didn't so much outgrow the city as outgrow Australia. Struggling for recognition, the Brothers Gibb began an exodus of musicians out of the country when they left for their native UK at the beginning of 1967, the year before a peanut fanner, Joh Bjelke-Petersen, took control of Queensland's ruling Country Party (later the National Party). The literature on Australian pop is only beginning to accumulate, so again it is understandable that Brisbane, so far, has rated little more than a footnote. The bigger problem is that the footnote has remained the same, recycled in various contexts by various authors: that music in Brisbane especially the punk scene of the late '70s - was overwhelmingly a reaction to the repression of the Bjelke-Petersen era. This is partly true. Bjelke-Petersen's rule of Queensland between 1968 and 1987 was nothing if not iron-fisted. Public displays of dissent were often brutally suppressed; the rule of law was routinely bent to the will of those charged with its enforcement; minorities were treated as simply another obstacle on the path to development. To top it all off, the electoral system was hopelessly rigged in favour of the incumbents. 'Here,' writes Rod McLeod, 'in a city practically under police curfew, you fucked and fought, got stoned, got married, or got out of town.' But it makes little sense to give a politician too much credit for the creation of a music scene. Major cultural movements result from an intersection of local, national and international factors. The Saints were not so much a reaction to living in a police state as they were a response to the music of not just the Stooges and the MC5, but the Easybeats and the Missing Links. And it's doubtful the national success of a string of Brisbane acts in the '90s - from Powderfinger to George - could have happened without the nationalisation of the Triple J network. Of course, it would be naïve to suggest that growing up in a climate of fear and loathing did not heavily distort the prism through which these artists saw the world. As Saints guitarist Ed Kuepper says, 'I think the band was able to develop a more obnoxious demeanor, thanks to our surroundings, than had everyone been really nice.' In the words of Australian music historian Ian Mcfarlane, 'That Australia's most conservative city should give rise to such a seditious subcultural coterie is a sociological phenomenon yet to be fully explored. This book is my attempt to document the substantial yet largely unsung contribution that Brisbane has made both to Australian popular culture and to international popular music. In doing so, I aimed to chart the shifts in musical, political and cultural consciousness that have helped shape the city's history and identity. In its broadest sense, Pig City is the story of how Brisbane grew up.
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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 extreme eastern tip of a large island off the east coast of North America, provide a unique backdrop against which to foreground a discussion of the distance between indie/punk rhetoric and reality. I contend that 'scene' in popular and academic use refers to the casual aggregation occasioned by similar interest and shared location, while 'community' hints at effort, co-operation and productive support.
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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. In particular, John Leland, a columnist for SPIN, appropriated a pop aesthetic as an identity marker and, in the process, questioned the supposed ineffectiveness of pop music for a political postmodernism. An analysis of Leland's writing uncovers what accounts of this era tend to ignore: the social function of postmodernism.
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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 contributions to this genre. In addition to providing an in-depth study of anarcho-punk, which has been largely ignored by scholars, the present work seeks to enhance understanding of the role of anarchy in punk discourse and hopes to offer a starting point for analysing recent developments in other politicised subcultures.
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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 advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.
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Kearney, Meghan Andrea. "Every Town Is All the Same When You've Left Your Heart in the Portland Rain: Representations of Portland Place and Local Identity in Portland Popular Lyrics." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1489.

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This study looks at how place and local identity of Portland are described within music lyrics from Portland, Oregon popular indie-rock artists. Employing a constant comparative analysis on a set of 1,201 songs from 21 different popular Portland indie-rock artists, the themes of landscapes and climate were found to represent place, and themes of lifestyles and attitudes represented local identity. Reviewing the uncovered themes showed a strong connection between representations of place and local identity within lyrics and common stereotypes or understandings of the city of Portland and its indie-rock music scene. The results of this study illustrate how place and local identity are communicated through popular but locally-tied music lyrics and how these lyrics may describe cities.
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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.
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 this interdisciplinary and contextual investigation. Not only the formation and impact of the group are examined, but a considerable section of the thesis is dedicated to the analysis and interpretation of this group’s lyrics, which are viewed and explored from a literary point of view. In this process certain questions regarding the position of lyrics in the Afrikaans literary system comes under scrutiny. The analysis and interpretation of the lyrics of Fokofpolisiekar are therefore aimed towards examining the literary status of this group’s lyrics. It will be proved that the sociopolitical context within which Fokofpolisiekar’s lyrics came to be formulated, impacted on the character and themes thereof. The thematic struggle with issues like liberation (redemption) and identity in the lyrics are shown to bear relation to the sociopolitical context of the Afrikaner youth after the Afrikaner’s loss of power in 1994 and the postmodern condition at the turn of the millennium. This postmodern condition is characterized by the continuing fragmentation of identity. The conclusion is made that Afrikaans popular music sets up a space within which new ideas with regards to ‘truths’ of identity can be formulated. In other words, the punk rock music of Fokofpolisiekar offers an opportunity for the re-articulation of Afrikaner identity. By incorporating the polysistem theory (and other relevant theories) in investigating the creation and reception of Fokofpolisiekar’s lyrics, it is shown that the Afrikaans literary system holds a place for Afrikaans lyrics. Although similar, lyrics should not be regarded as synonymous to poetry. Seeing that the creation and reception thereof differs from that of other literary forms, I argue that lyrics are lyrics and should be regarded as such in order for it to come to its full right in literary study.
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Books on the topic "Rock music History and criticism"

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Dasher, Richard T. History of rock music. Portland, Me. (P.O. Box 658, Portland 04104-0658): J. Weston Walch, Publisher, 1985.

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Charlton, Katherine. Rock music styles: A history. 6th ed. Boston: McGraw-Hill, 2011.

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Charlton, Katherine. Rock music styles: A history. 6th ed. Boston: McGraw-Hill, 2011.

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Charlton, Katherine. Rock music styles: A history. 3rd ed. Boston, Mass: McGraw Hill, 1998.

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Charlton, Katherine. Rock music styles: A history. Dubuque, Iowa: Wm.C. Brown Publishers, 1990.

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Cateforis, Theo. The Rock History Reader. London: Taylor and Francis, 2006.

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Fowles, Paul. A concise history of rock music. Pacific, MO: Bill's Music Shelf, 2009.

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Barnard, Stephen. Rock: An illustrated history. New York: Schirmer Books, 1986.

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Linda, Martin. Anti-rock: The opposition to rock 'n'roll. Hamden, Conn: Archon Books, 1988.

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Nicholson, Stuart. Jazz-rock: A history. Edinburgh: Canongate Books, 1998.

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Book chapters on the topic "Rock music History and criticism"

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Albini, Steve. "“The Problem with Music”." In The Rock History Reader, 303–10. Third edition. | New York : Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-59.

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Baker, Susan, and Tipper Gore. "The Parents Music Resource Center." In The Rock History Reader, 243–50. Third edition. | New York : Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-48.

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Hopper, Jessica. "Marginalization in the Music Industry." In The Rock History Reader, 407–14. Third edition. | New York : Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-81.

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Bunzel, Peter. "“Music Biz Goes Round and Round." In The Rock History Reader, 55–58. Third edition. | New York : Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-13.

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Geffen, Sasha. "“In Defense of Post-Grunge Music”." In The Rock History Reader, 363–68. Third edition. | New York : Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-70.

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Poole, Simon. "Retro Rock and Heavy History." In Global Metal Music and Culture, 297–310. New York: Routledge, 2016. http://dx.doi.org/10.4324/9781315742816-23.

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Alterman, Loraine. "Carly Simon on Music and the Women’s Movement." In The Rock History Reader, 153–56. Third edition. | New York : Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-32.

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Prato, Greg. "“MTV Ruled the World” The Early Years of Music Video." In The Rock History Reader, 229–38. Third edition. | New York : Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-46.

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Smith, Evan. "“Even Heavy-Metal Fans Complain that Today’s Music Is Too Loud!!!”." In The Rock History Reader, 375–78. Third edition. | New York : Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-72.

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Wehrs, William. "Affect and Film Music: A Brief History." In The Palgrave Handbook of Affect Studies and Textual Criticism, 735–52. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63303-9_28.

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Conference papers on the topic "Rock music History and criticism"

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Kolomiets, G. "ON THE QUESTION OF MUSICAL HERMENEUTICS IN AESTHETICS." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2548.978-5-317-06726-7/65-69.

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The report assumes a dialogue between aesthetic and art history methods of interpreting a piece of music. Musical hermeneutics in art criticism, guided by a more historical, educational and detailed approach, is complemented by an anthropo-axiological method in aesthetics.
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Markov, A. "SYNTHETIC TEXT: TO THE PROBLEM OF DIFFERENTIATION OF THE PHENOMENON OF SONG POETRY." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3763.rus_lit_20-21/371-381.

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The article treats the song text as a kind of synthetic text. The intermediate nature of the object of study gives rise to difficulties associated with the need for an interdisciplinary approach to its study. Author's and bard's song, rock poetry and rap poetry - these and adjacent types of combining music and text cannot be described and classified using the available tools. The interaction of music and text, the peculiarities of performance, the variability of song texts - all these complicates the research task. An attempt to resolve the terminological confusion that aroses almost simultaneously with the phenomenon of literary chant and accompanying the entire history of research, is being made. The option of differentiating song texts depending on the category of authorship is proposed. It also seems to be important to determine the degree of influence of third-party subtexts on meaning.
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Dimitrakopoulou, Georgia. "�NOVELLA GRECA.� ?. SERAO�S 19TH CENTURY GREECE. ITS REALITIES AND ITS ANTITHESES." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.17.

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In the short story Novella Greca, in her book: Fior di Passione, 1888, the author M. Serao narrates the true story of Calliope Stavro, the heroine (Calliopi Stavrou in Greek), in Leucade - Santa Maura (Lefkada - Agia Mavra in Greek), an island of the Ionian Sea, in 19th century Greece. At that time, the country was just freed from the Turkish occupation, trying to recover from more than 400 years of slavery and subjugation to the Ottoman Empire. Calliope Stavro represents the woman of her time, imprisoned in the small society of her island, suffocated, asphyxiated, disillusioned and unfulfilled. Thus, she decides to commit suicide not having a way out in her island, which although it is a naturally beautiful place due to its greenery, it is a barren rock �thrown� into the Ionian Sea without any promising future for its inhabitants. Serao realistically exposes the true story of the heroine�s female identity, whose death signifies her suffocation within the patriarchal society of her time. The writer presents the outlets of human existence, the small society of the island, the negative influence of the heroine�s microcosm, which mostly depends on the raisin trade, its production and export, with which almost all the males of the island are preoccupied, since it provided a profitable income in that time. Faced with the crushing reality of her life, the non-existence of love, no romance, male dominance, and indifference, even misogynism, she chooses death, she surrenders to her doomed destiny and the futility of existence, because she is not allowed to live a free life according to her will. Her fatal fall from Lefkata�s cape, where in ancient times there was a temple of god Apollo, god of music, light, and patron of the arts and divination, signifies the death of the gods of Olympus. Their place has been taken by a harsh reality, the revelation of the demands of the human soul, its desires, and its dead ends. Greece will need and still needs a long way to go to find the place it deserves in history, free from patriarchal structures, prejudices, and the impasses that they entail. The story of Calliope Stavro proves in practice the predicament of the female under the patriarchal standards of her era and the unsatisfied desires of the human psyche, which are sacrificed for the sake of survival, most times with unpredictable, unpleasant and unhappy results.
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