Journal articles: '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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del Val, Fernán. "‘Sing as you talk’: Politics, popular music and rock criticism in Spain (1975–1986)." Journalism 20, no. 9 (August 4, 2017): 1203–22. http://dx.doi.org/10.1177/1464884917719586.

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The field of popular music in Spain underwent an important transformation in the years of the country’s political transition from 1975 to 1986, producing a great confluence of two music scenes: the so-called ‘Movida’ scene and the hard-rock scene. This article analyses a variety of music magazines and personal interviews with rock critics to trace how the process of legitimation in rock criticism deepened during those years. From a theoretical standpoint, this article applies ideas from the sociology of art criticism to popular music studies, Motti Regev’s work on the non-Anglophone music press and Shyon Baumann’s work on the legitimation process.

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EVANS, MARK. "'QUALITY' CRITICISM Music Reviewing in Australian Rock Magazines." Perfect Beat 3, no. 4 (October 5, 2015): 38–50. http://dx.doi.org/10.1558/prbt.v3i4.28739.

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BRACKETT, DAVID. "Improvisation and Value in Rock, 1966." Journal of the Society for American Music 14, no. 2 (April 24, 2020): 197–232. http://dx.doi.org/10.1017/s1752196320000073.

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AbstractThe mid-1960s has figured as a central period in the historiography of popular music, but the role of improvisation has been little discussed. This article argues that issues of improvisation and value are crucial to understanding the emergence of a high-low split within popular music, a division that figures prominently in criticism and fan discourse up to the present day. This new stratification within popular music made it possible for rock to acquire critical prestige relative to other popular music genres. The formation of rock also relied on its association with a primarily white, male, middle-class demographic. This article demonstrates that rock's prestige rests simultaneously on maintaining this narrow demographic profile while locating aesthetic and spiritual value in musical practices coming from elsewhere (in terms of geography, race, or cultural hierarchy): blues, Indian classical music, jazz. The socio-musical transformation in which improvisation played such an important role is explored through a survey of recordings and an analysis of the development of rock criticism in 1966, the year in which a new constellation of aesthetics, politics, and musical style crystallized.

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Botstein, Leon. "On Criticism and History." Musical Quarterly 79, no. 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.

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Kramer, Michael J. "Rocktimism?: Pop Music Writing in the Age of Rock Criticism." Journal of Popular Music Studies 24, no. 4 (December 2012): 590–600. http://dx.doi.org/10.1111/jpms.12009.

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Jones, Steve. "Covering Cobain: Narrative patterns in journalism and rock criticism." Popular Music and Society 19, no. 2 (June 1995): 103–18. http://dx.doi.org/10.1080/03007769508591594.

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Khokhryakov, Andrei L. "Rock poetry vs Rock Lyrics: The Problem of Correlation of Concepts." World Literature in the Context of Culture, no. 15 (21) (2022): 67–76. http://dx.doi.org/10.17072/2304-909x-2022-15-67-76.

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The article considers correlation of ‘lyrics’ and ‘poetry’ within rock music. Addressing their difference in Western (English-speaking) and Russian critical tradition,the author reveals both their distinctive characteristics and likeness (as well crosscharacter) in historical and socio-cultural aspects. The author comes to the following conclusion: as a syncretic and evolving form of art, not only rock poetry does overcome the boundaries of lyrics as a sub-genre, it also reveals itself in a broader perception of lyrics as a division of literature, in the sense of poetry, serving an object for literary criticism

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FEIGENBAUM, ANNA. "‘Some guy designed this room I’m standing in': marking gender in press coverage of Ani DiFranco." Popular Music 24, no. 1 (January 2005): 37–56. http://dx.doi.org/10.1017/s0261143004000285.

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Examining ways in which gender is marked in the press coverage of self-produced, folk-rock artist and record label owner Ani DiFranco, this paper explores how language employed in rock criticism frequently functions to devalue and marginalise women artists' musicianship, influence on fans, and contribution to the rock canon. Investigating how the readerships of different publications may influence the ways in which journalists mark gender in rock criticism, this study utilises a corpus of 100 articles on Ani DiFranco published between 1993 and 2003 from print and online magazines and newspapers in Canada, the United States and the United Kingdom. Focusing on the use of inter- and intra-gender artist comparisons, adjectival gender markers and ‘metaphorical gender’ markers in artist background information, lyrical and musical analyses and descriptions of fans, this analysis maps the discursive conventions that music critics and theorists continue to rely on in reviews and profiles of women artists.

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Brooks, Daphne A. "The Write to Rock: Racial Mythologies, Feminist Theory, and the Pleasures of Rock Music Criticism." Women and Music: A Journal of Gender and Culture 12, no. 1 (2008): 54–62. http://dx.doi.org/10.1353/wam.0.0002.

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LeBlanc, Albert. "Books: Rock Music Styles: A History." Music Educators Journal 77, no. 9 (May 1991): 60. http://dx.doi.org/10.2307/3398193.

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Hoffman, P. D. "Using rock music to teach history." OAH Magazine of History 1, no. 1 (May 1, 1985): 10–11. http://dx.doi.org/10.1093/maghis/1.1.10.

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McDonald, Chris. "Exploring modal subversions in alternative music." Popular Music 19, no. 3 (October 2000): 355–63. http://dx.doi.org/10.1017/s0261143000000210.

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IntroductionThe concern of this article is with a particular set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented ‘alternative’ rock, have been using with noticeable frequency in the last ten years. I am also interested in discussing the concept of the power chord (a term I shall explicate more clearly below) as a device in rock that has facilitated the above-mentioned set of harmonic practicesThe observations made in this paper come out of a previous research inquiry of mine into the devices which alternative musicians use to differentiate their music from other styles of mainstream rock. Also, the pursuit of this topic is partly a response to Allan Moore's admonition that ‘there is as yet very little concern for theorizing analytical method in rock music’, and his call for a ‘mapping-out of those harmonic practices that serve to distinguish rock styles . . . from those of common-practice tonality . . . and jazz’ (Moore 1995, p. 185).There has been some rather pointed criticism recently of musicological analyses of popular music (see Shepherd 1993; Frith 1990) on the charge that analysing music's purely sonic dimensions (i.e. melody, harmony, rhythm, structure, etc.) does not really help us understand musical communication. Speaking as a songwriter, however, I would argue that many musicians in rock are indeed concerned with harmonic progression (or ‘the changes’, to use the vernacular term) as an important device or jumping-off point in the process of songwriting. It also seems reasonable to suggest that harmonic progression is a contributing factor in the affective power of a song, although its importance here is likely to be variable and quite open to debate.

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Botstein, L. "Witnessing Music: The Consequences of History and Criticism." Musical Quarterly 94, no. 1-2 (March 1, 2011): 1–8. http://dx.doi.org/10.1093/musqtl/gdr001.

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Radice, Mark A. "Reader's Guide to Music: History, Theory, Criticism (review)." Notes 58, no. 1 (2001): 66. http://dx.doi.org/10.1353/not.2001.0165.

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Kitts, Thomas M. "The Rock History Reader." Popular Music and Society 32, no. 4 (October 2009): 564–66. http://dx.doi.org/10.1080/03007760902927215.

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ATTON, CHRIS. "Writing about listening: alternative discourses in rock journalism." Popular Music 28, no. 1 (January 2009): 53–67. http://dx.doi.org/10.1017/s026114300800158x.

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Abstract‘Alternative’ publications challenge the conventional discourses of rock journalism. In particular, the dominant discourses of authenticity, masculinity and mythology might be countered by publications that emphasise historical and (sub)cultural framing, and that present radicalised ‘spaces of listening’. Using Bourdieu’s field theory to identify autonomous and semi-autonomous sites for rock criticism, the paper compares how a fanzine (the Sound Projector) and what Frith has termed an ideological magazine (the Wire) construct their reviews. The findings suggest that, whilst there is no evidence for an absolute break with the dominant conventions of reviewing, there is a remarkable polyglottism in alternative music reviewing. The paper emphasises differing cultural and social practices in the multiple ways the publications write about music, and argues for the value of such polyglottism.

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Vojvodić Nikolić, Dina D. "PREDLOG ODREĐENjA POJMA MUZIČKA KRITIKA I TIPOLOGIJE KRITIČKIH TEKSTOVA MEĐURATNOG DOBA U SRBIJI." Nasledje Kragujevac XX, no. 55 (2023): 299–312. http://dx.doi.org/10.46793/naskg2355.299vn.

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The paper presents a proposal for defining the concept of music criticism and types of critical texts. The historical development of music criticism, its problems, methods, goals and main representatives are presented. The history of music criticism is ideologically connected with music, and primarily appeared in occasional publications. Criticism of musicians began continuously in the middle of the 18th century, when the first open discussions on various issues of music appeared. Jean-Jacques Rousseau, Johann Mattheson and Charles Burney stand out among the first music critics. The last years of the 18th and the beginning of the 19th century were marked by change, and now the main patron of music, and therefore of criticism, became the middle class and not the previous aristocracy. It is important to apostrophize the fact that criticism of the 18th century was predominantly focused on vocal music, while instrumental music had a subordinate place. Vocal music, according to the aesthetic concepts of the time, represented the pinnacle of musical expression, and criticism had the task of continuously and tirelessly promoting it. In the 19th and 20th centuries, the situation changed, and instrumental music gained a prominent place in criticism.

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Zhabeva Papazova, Julijana. "REVIEW | On The History of Rock Music." IASPM@Journal 6, no. 1 (November 7, 2016): 161–63. http://dx.doi.org/10.5429/2079-3871(2016)v6i1.15en.

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Tukova, Iryna, Valentina Redya, and Iryna Kokhanyk. "Ukrainian Music Criticism of the 2010s: General Situation, Problems, Directions of Development (Based on the Examples From Contemporary Art Music Scene)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 129–43. http://dx.doi.org/10.24193/subbmusica.2022.2.07.

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"The paper focuses on the 2010s in the history of Ukrainian music criticism. The materials on contemporary art music were chosen to support the authors’ reflections and conclusions. Selection of the time, period and material for the research are conditioned both with the specific social situation of Ukraine and with the recent developments in its music scene. The paper characterizes the main media, most popular critical genres, and methods of critical coverage. It is highlighted that the problems of Ukrainian music criticism during the 2010s were linked to the post-Soviet past and, in general, to the colonial status of Ukrainian culture in the Russian Empire and later in the Soviet Union. Such problems include the absence of independent journals for music criticism, dominance of information genres over reviews, general stable positive evaluation of musical scene activity etc. A few examples illustrate the gradual changing of situation during the 2010s. The authors offer to consider that new period of Ukraine music criticism history began in 2020 when The Claquers, a critical media about art music in Ukraine and abroad aiming to solve the mentioned problems, was established. Keywords: Ukrainian music criticism, contemporary art music, policy of colonialism, review, announcement. "

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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (December 31, 2018): 55–64. http://dx.doi.org/10.36744/m.344.

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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially started to promote the Croatian National Revival, setting in motion the process of constituting the Croatian nation in the modern sense of the word. However, those articles cannot be considered musical criticism, at least not in the modern sense of the word, as they never went beyond the level of mere journalistic reports. The first music criticism in the Croatian language in the true sense of the word is generally considered a very comprehensive text by a poet Stanko Vraz (1810-51) about a performance of the first Croatian national opera Ljubav i zloba (Love and malice) by Vatroslav Lisinski (1819-54) from 1846. In terms of its criteria for judgement, that criticism proved to become a model for the majority of 19th-century and later Croatian music criticism. Two judgement criteria are clearly expressed within it: national and artistic.Regardless of whether we are dealing with 1) ideological-utilitarian criticism, which was directed towards promoting the national ideology (Franjo Ksaver Kuhač, 1834-1911; Antun Dobronić, 1878-1955), 2) impressionist criticism based on the critic’s subjective approach to particular work (Antun Gustav Matoš, 1873-1914; Milutin Cihlar Nehajev, 1880-1931; Nikola Polić, 1890-1960), or 3) Marxist criticism (Pavao Markovac, 1903-41), we may observe the above mentioned two basic criteria. Only at the end of the period under consideration the composer Milo Cipra (1906-85) focused his interest on immanent artistic values, shunning any ideological utilitarianism, and insisting on the highest artistic criteria.

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Hamelman, Steven. "But Is It Garbage? The Theme of Trash in Rock and Roll Criticism." Popular Music and Society 26, no. 2 (January 2003): 203–23. http://dx.doi.org/10.1080/0300776032000096935.

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FABBRI, FRANCO. "Orchestral Manoeuvres in the 1970s: l’Orchestra Co-operative, 1974–1983." Popular Music 26, no. 3 (October 2007): 409–27. http://dx.doi.org/10.1017/s0261143007001353.

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AbstractL’Orchestra, a cooperative established in 1974/75, based in Milan, Italy, was a unique organisation, involving musicians, sound and lighting engineers, music critics and teachers, and concert managers. It was started as a kind of artists’ union, a federation of folk, rock, political song, jazz, avant-garde groups, but in a few months it became a concert agency and a record company; it held music courses for amateurs and published music tutorials; it helped managing the first multipurpose art/social centre in Milan. L’Orchestra promoted studies along various disciplinary perspectives (sociology, music education, ideological criticism, semiotics) that in some respects embody and in others help explain the development of popular music studies and of the International Association for the Study of Popular Music (IASPM) in Italy.

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Bussey, Nicole. "Deconstructing Desire: Criticism of Western Romantic Narratives in Mitski's "Your Best American Girl" Music Video." Nota Bene: Canadian Undergraduate Journal of Musicology 17, no. 1 (June 18, 2024): 74–87. http://dx.doi.org/10.5206/notabene.v17i1.17194.

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Mitski Miyawaki, a Japanese American indie-rock artist professionally known as Mitski, wrote her 2016 song, “Your Best American Girl,” from the perspective of a woman who is unable to have a relationship with her love interest due to their different racial and cultural backgrounds. The accompanying music video engages with the song’s social message while adding nuance and complexity to it. Many of the lyrics portray Mitski’s feelings of isolation as an Asian American woman, especially through their employment of Japanese cultural symbols, while the music video uses parody, camera angles, and Americana iconography to further illustrate Mitski’s experiences of isolation. This essay analyzes the subtle ways in which “Your Best American Girl” subverts Asian stereotypes and destabilizes white patriarchal structures that are perpetrated by popular media, particularly through white centrality in the indie-rock genre. Comparison of “Your Best American Girl” to Lana Del Rey’s “Born to Die” music video reveals how “Your Best American Girl” uses parody techniques to criticize this white centrality. Further, its references to PJ Harvey allows Mitski to occupy a similar position of musical authenticity and command respect. Through lyrical, musical, and visual storytelling, “Your Best American Girl” chronicles Mitski’s journey towards self-acceptance, while critiquing the pervasive whiteness in romantic narratives.

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Beilharz, Peter. "Rock lobster: Lobby Loyde and the history of rock music in Australia." Thesis Eleven 109, no. 1 (April 2012): 64–70. http://dx.doi.org/10.1177/0725513611434136.

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kang, sun ha. "The Problems an Improvement Direction of High School Music Appreciation and Criticism Textbook." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 17 (September 15, 2023): 1–15. http://dx.doi.org/10.22251/jlcci.2023.23.17.1.

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Objectives This study examines the problems in the contents of high school textbook Music Appreciation and Criticism, and proposes improvement directions accordingly. Methods For this purpose, the 2015 revised textbook Music Appreciation and Criticism's unit composition, organization, and Gugak contents were analyzed. Results The problems of high school music appreciation and criticism education are, first, that Gugak is not universally covered in music. Second, the majority of music pieces overlapped with general Music textbooks, and third, the fact that the description of Gugak was remarkably lacking compared to Western music history, and fourth, there was no concept and critical awareness of Gugak criticism. Since music appreciation and criticism education is a special subject for students majored in music, it should have more advanced content than general Music textbooks, but there was room to instill musical prejudice. Conclusions The improvement direction for these problems is, first, to understand Korean traditional music universally. Second, a critical mind about the criticism of Gugak will be preceded. Third, future-oriented education with the context of the times was to be pursued. Fourth, appreciation music was to be presented in a more diverse way and learning contents were to be converged. When these suggestions for improvement are fully considered and improved, the appreciation and criticism of Gugak can also develop in a creative direction.

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Street, John. "Local differences? popular music and the local state." Popular Music 12, no. 1 (January 1993): 43–55. http://dx.doi.org/10.1017/s0261143000005341.

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This is the story of a rock venue in an English city. Hardly, it might be supposed, the stuff of great drama; there are, after all, rock venues throughout England. Most towns and cities of any size have at least one. But this venue, the Waterfront in Norwich, is distinctive, if not unique, in at least two respects.It was purpose-built and, more importantly, it was largely financed, not by private enterprise, but by the city's Labour council. Norwich's local politicians risked both financial and political capital so that their city could host performers like Nitzer Ebb, Dumpy's Rusty Nuts, Labi Siffre and Orzic Tentacles (all of whom appeared at the Waterfront in the space of a week in November 1991). The £1 million project opened in late 1990, amid much publicity and intense criticism from the opposition parties and local residents: these complaints continued into the venue's second year, when it received a further subsidy of £30,000 from the council. Why did the council take these risks? What were the political interests and values which led to this novel policy development?

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Pritchard, Matthew. "The Cambridge History of Music Criticism. Ed. by Christopher Dingle." Music and Letters 101, no. 4 (November 1, 2020): 785–88. http://dx.doi.org/10.1093/ml/gcaa068.

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Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (1990): 251–65. http://dx.doi.org/10.2307/763570.

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Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (April 1990): 251–65. http://dx.doi.org/10.1525/jm.1990.8.2.03a00040.

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Syrov, V. N. "Biographical Aspects of Rock Music." Art & Culture Studies, no. 3 (October 2021): 366–79. http://dx.doi.org/10.51678/2226-0072-2021-3-366-379.

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It is necessary to make difference between biography as a history of a person’s life and biography as a retelling of this story made by a professional author. It is this “author’s” biography that is the subject of this article. Turning to biography as a genre, we note that it exists in the environment of other genres and forms: these are various kinds of diaries, chronicles, memoirs, testimonies. It can be based on a collection of interviews, publications from different years, and even correspondence. Among the many biographies, chronicles and biographies of musicians and rock bands, the author selects those in which a bright individuality stands out against the background of parallel and commensurate creative values. The biographies of The Beatles and, in particular, John Lennon, the versatile character of whose creative personality is demonstrated by a vivid example of an “opening” biography, are considered.

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Mäkelä, Janne. "The state of rock: a history of Finland’s cultural policy and music export." Popular Music 27, no. 2 (May 2008): 257–69. http://dx.doi.org/10.1017/s0261143008004054.

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AbstractThe Finnish government has historically been active in regulating the practices of popular music. At the same time, the music industry, rock media and musicians have traditionally insisted on markets free from state intervention. This article focuses on the history of the interrelationship between cultural policy and popular music, especially rock exports, in Finland. It argues that the high level of organised forms of culture and the lure of internationalism form the historical basis for the nation-state–popular music relationship in Finland. Following the demands for ‘competitive society’ in the 1990s and the international breakthroughs of Finnish pop and rock music performers after 2000, this relationship has intensified. Contemporary policy is in many ways healthier than in the past, yet it also raises crucial questions about hierarchies and identity relationships in popular music and society.

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Steinberg, Marc W., and Peter Wicke. "Rock Music: Culture, Aesthetics and Sociology." Social Forces 69, no. 4 (June 1991): 1287. http://dx.doi.org/10.2307/2579335.

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Mazullo, Mark. "The Rock History Reader (review)." Notes 64, no. 3 (2008): 516–18. http://dx.doi.org/10.1353/not.2008.0027.

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Hagedorn, Hans Christian. "Don Quijote en el jazz francés." Çédille, no. 18 (2020): 515–49. http://dx.doi.org/10.25145/j.cedille.2020.18.21.

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The intense reception that Don Quixote has had in French music is a well-known, well-documented and well-researched phenomenon. However, criticism has focused pri-marily on classical music and opera; few studies have been devoted to pop music, rock or folk, and none has so far dealt with the traces that the Cervantine novel has left in French jazz. In this paper we document, analyse and compare twenty examples of French jazz compositions that are inspired by the masterpiece of Cervantes, taking into account aspects such as its reception in jazz from other countries, or the interesting presence of the myth of Don Quixote in French jazz of the 21st century.

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Gray, Timothy. "Hip Americana: The Cultural Criticism of Greil Marcus." Prospects 27 (October 2002): 611–39. http://dx.doi.org/10.1017/s0361233300001356.

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In the summer of 1976, as many in our nation were getting ready to celebrate the bicentennial and listening to AM radio shlock like “Afternoon Delight,” I persuaded my father to buy me an oversized red paperback I had been perusing at the local mall. The book was theRolling Stone Illustrated History of Rock & Roll, a landmark collaboration edited by Jim Miller. Throughout my teenage years, I would pour over its many photographs, memorize its discography sections, and take instruction and courage from its lively, opinionated writing. Looking back at theIllustrated Historya quarter of a century later, I find that its list of contributors reads like a “Who's Who” of rock criticism. Peter Guralnick, Robert Christgau, Lester Bangs, Robert Palmer, Jon Landau, and Dave Marsh are just a few of the writers who went on to make their names as critics, musicologists, and biographers. On this occasion, they managed to weave the separate strands of rhythm and blues, folk, country, and rock into a cohesive tapestry.

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Marino, Stefano. "Thirty Years of Pearl Jam (and Grunge Subculture), 1991–2021." Journal of Asia-Pacific Pop Culture 6, no. 2 (November 2021): 365–76. http://dx.doi.org/10.5325/jasiapacipopcult.6.2.0365.

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Abstract In this review article, I focus my attention on the so-called grunge subculture, originally derived from the musical style of the Seattle scene of the late 1980s and early 1990s, and in particular on the rock band Pearl Jam, sometimes emphatically defined as the “grunge survivors” and as the only major Seattle band to survive the ’90s intact. Pearl Jam—inducted into the Rock and Roll Hall of Fame in 2017, and committed in 2021 to celebrate the thirtieth anniversary of Ten, their legendary debut album, and also the twenty-fifth anniversary of No Code, their fourth, most experimental, and perhaps most “philosophical” work so far—have undoubtedly established themselves as one of the best rock bands of all times. Starting from a general analysis of the music of Pearl Jam, in my review article I subsequently take into examination some aspects of the band's artistic work that allow to connect in an original way popular music and social criticism, including some questions concerning political commitment, the critical relation with the culture industry, and also feminism.

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Kupfer, Andrew. "1969: Stories into Music." European Journal of Life Writing 3 (July 25, 2014): C60—C70. http://dx.doi.org/10.5463/ejlw.3.120.

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Дюкин, С. Г. "Rock-discourse as the reflection of Perestroika." Диалог со временем, no. 76(76) (August 17, 2021): 265–75. http://dx.doi.org/10.21267/aquilo.2021.76.76.007.

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Цель статьи – выявление реформаторского потенциала рок-музыки, который проявился в ходе Перестройки. Гипотезой исследования стала мысль о том, что молодежная музыка была не столько двигателем процессов изменения советского общества, сколько отражала намерения власти и ход реальных реформ, служила для апробации реформаторского дискурса. Исследование проведено на основе анализа нарративных интервью с очевидцами событий, музыкантами и людьми, близкими к рок-культуре в конце 1980-х гг., публикаций в прессе описываемого периода, неопубликованных документов. Появление и развитие описанного в статье дискурса указывает на использование рок-музыки в качестве индикатора изменений и инструмента для забрасывания камней, то есть апробации радикальных идей и решений. The aim of this article is detection of reform potential of rock-music during Soviet Perestroika. Hypothesis of research is idea that youth music was not so much a support for changing of the Soviet society, but it was a mirror, which reflected intentions of power and process of real reforms. Rock-music was used for the testing of reform discourse. The forming and development of this discourse indicates the use of rock-music as an indicator of changings and instrument for check of discourse field or for testing radical ideas and decisions.

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BLAKE, CASEY NELSON. "ROCK AS EXPERIENCE." Modern Intellectual History 14, no. 1 (February 16, 2016): 293–308. http://dx.doi.org/10.1017/s147924431500044x.

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Readers dismayed by the appearance of a review essay on hipsters, hippies, and rock music in the pages of Modern Intellectual History should take a deep breath (you may inhale) and consider the following passage from John Dewey's 1934 Art as Experience: Any idea that ignores the necessary role of intelligence in production of works of art is based upon identification of thinking with use of one special kind of material, verbal signs and words. To think effectively in terms of relations of qualities is as severe a demand upon thought as to think in terms of symbols, verbal and mathematical. Indeed, since words are equally manipulated in mechanical ways, the production of a work of genuine art probably demands more intelligence than does most of the so-called thinking that goes on among those who pride themselves on being “intellectuals.”It's impossible to know what Dewey would have thought had he lived beyond his ninety-two years and confronted the rock music and counterculture of the 1960s and early 1970s. Would he have found “intelligence” at work in “acid rock” or hippie culture? Or would he have reacted as rock critic Greil Marcus did in the famous opening line of his review of Bob Dylan's 1970 Self Portrait album: “What is this shit?” I’d like to think he’d have given the music a listen, if not at the Fillmore then perhaps on his home stereo. After all, Dewey had this to say about music: “Music, having sound as its medium, thus necessarily expresses in a concentrated way the shocks and instabilities, the conflicts and resolutions, that are the dramatic changes enacted upon the more enduring background of nature and human life.” If any music expressed the shocks, instabilities, and conflicts of its day—and did so “in a concentrated way”—it was rock ’n’ roll. In fact, sonic culture had a privileged place in Dewey's aesthetics as an expression of the emotional life of individuals and communities. “Generically speaking, what is seen stirs emotion indirectly, through interpretation and allied idea. Sound agitates directly, as a commotion of the organism itself.” A philosopher who refused to sever sensory experience from cognition might well have considered whether somewhere in the commotion of rock culture there was also thinking. The question for historians committed to that proposition today is how and where to locate thinking in all the feedback.

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Miller, Jason. "What Makes Heavy Metal ‘Heavy’?" Journal of Aesthetics and Art Criticism 80, no. 1 (November 25, 2021): 70–82. http://dx.doi.org/10.1093/jaac/kpab065.

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Abstract In this article, I raise a simple but surprisingly vexing question: What makes heavy metal heavy? We commonly describe music as “heavy,” whether as criticism or praise. But what does “heavy” mean? How is it applied as an aesthetic term? Drawing on sociological and musicological studies of heavy metal, as well as recent work on the aesthetics of rock music, I discuss the relevant musical properties of heaviness. The modest aim of this article, however, is to show the difficulty, if not impossibility, of this seemingly straightforward task. I first address the difficulties of identifying the defining features, or “Gestalt,” of heavy metal that would allow us to treat heaviness as a genre concept. Next, I discuss both the merits and the limits of analyzing heaviness in terms of an aesthetics of “noise” in rock music developed in recent philosophy of music. In the remaining sections, I consider other nonaesthetic features relevant to aesthetic judgments of heaviness and show that the term ‘heavy’ is conceptually inarticulable, if not irreducible. This, I conclude, has partly to do with the radically different, sometimes incompatible, musical properties present in the perception of musical heaviness.

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

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