Academic literature on the topic 'Rock music – Social aspects'
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Journal articles on the topic "Rock music – Social aspects"
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Temperley, David. "Syncopation in rock: a perceptual perspective." Popular Music 18, no. 1 (January 1999): 19–40. http://dx.doi.org/10.1017/s0261143000008710.
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While study of the social and cultural aspects of popular music has been flourishing for some time, it is only in the last few years that serious efforts have been made to analyse the music itself: what Allan Moore has called ‘the primary text’ (1993, p. 1). These efforts include general studies of styles and genres (Moore, 1993; Bowman, 1995); studies of specific aspects of popular styles such as harmony and improvisation (Winkler 1978; Moore 1992, 1995; Walser 1992), as well as more intensive analyses of individual songs (Tagg 1982; Hawkins 1992). In this paper I will investigate syncopation, a phenomenon of great importance in many genres of popular music and particularly in rock.
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Tripathy, Manaswini, and Mithunchandra Chaudhari. "The Impact of Rock Music on Indian Young Adults: A Qualitative Study on Emotions and Moods." Revista Gestão Inovação e Tecnologias 11, no. 4 (September 16, 2021): 5361–74. http://dx.doi.org/10.47059/revistageintec.v11i4.2566.
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Music has proven to play a vital role in social and emotional development in teenagers and young adults. From contemplation, developing self-identity, understanding interpersonal relationships, and providing possibilities of experience mastery, agency, and self-control with the help of self-directed activities, music helps its audience develop in all aspects of life. In specific, Rock music, since its existence has been more than entertainment, artists expressed themselves and shared their opinions through their musical pieces. Infamous for promoting drugs and alcohol, Rock Music used its platform to enlighten the audience about taboo topics like racism, inequality, and other social issues. This research paper uses a qualitative methodology approach to understand Rock Music listeners’ points of view. Data was collected through ‘in-depth interviews’ of 15 participants hailing from different parts of the country. Rock Music has several positive effects on the listeners. Rock can elevate moods, induce emotions, helps the listeners be more productive and creative with their everyday work, and constantly motivate them to do better in every aspect of life. Rock provides a platform to express feelings and vent out all the angst, especially for those who otherwise do not voice their opinions because of their nature in general. Rock Music has been able to shape personalities, characteristics, and thought processes. Moreover, majorly, Rock Music helps people with anger management.
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Tripathy, M., and M. Chaudhari. "The impact of rock music on Indian young adults: a qualitative study on emotions and moods." CARDIOMETRY, no. 20 (November 21, 2021): 111–19. http://dx.doi.org/10.18137/cardiometry.2021.20.110118.
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Music has proven to play a vital role in social and emotionaldevelopment in teenagers and young adults. From contemplation,developing self-identity, understanding interpersonalrelationships, and providing possibilities of experience mastery,agency, and self-control with the help of self-directed activities,music helps its audience develop in all aspects of life. In specific,Rock music, since its existence has been more than entertainment,artists expressed themselves and shared their opinionsthrough their musical pieces. Infamous for promoting drugsand alcohol, Rock Music used its platform to enlighten the audienceabout taboo topics like racism, inequality, and other socialissues. This research paper uses a qualitative methodologyapproach to understand Rock Music listeners’ points of view.Data was collected through ‘in-depth interviews’ of 15 participantshailing from different parts of the country. Rock Musichas several positive effects on the listeners. Rock can elevatemoods, induce emotions, helps the listeners be more productiveand creative with their everyday work, and constantly motivatethem to do better in every aspect of life. Rock provides aplatform to express feelings and vent out all the angst, especiallyfor those who otherwise do not voice their opinions becauseof their nature in general. Rock Music has been able to shapepersonalities, characteristics, and thought processes. Moreover,majorly, Rock Music helps people with anger management.
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Zmudzińska, Kamila, and Roman Matykowski. "Spatial and social aspects of the impact of Pol’and’Rock Festival and Jarocin Festival in Poland." Journal of Geography, Politics and Society 13, no. 2 (September 29, 2023): 46–66. http://dx.doi.org/10.26881/jpgs.2023.2.05.
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Among the popular music festivals operating in Poland in the last forty years, two of them played a special role, especially for their young recipients of amplified music. The first of them was the Rock Festival in Jarocin (it had different names) functioning in the years 1980–1994, so still in the period of communist authorities. Reactivated in 2005, it recently operates under the name Jarocin Festival and uses the legend of the event from the 1980s. In the new socio-political conditions, the second important event, the Pol’and’Rock Festival (called Woodstock Station in 1995–2017), began to function in 1995, which in the late 1990s exceeded 100,000 participants and became the largest popular music event in Poland. The aim of the study is to characterise the impact of these two important popular music festivals in Poland at the turn of the second and third decade of the 21st century in the spatial and socio-cultural dimensions on the community of its participants. Referring to the traditional chorological paradigm of human geography, an analysis of the differentiation of the territorial impact of festivals was made, and using patterns immersed in social geography-oriented music research, factors motivating to participate in festivals were determined.
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Synieokyi, Oleg Vladimirovich. "Some reflections on the past, present and future of space rock music." SENTENTIA. European Journal of Humanities and Social Sciences, no. 3 (March 2021): 63–83. http://dx.doi.org/10.25136/1339-3057.2021.3.35872.
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The topic of space music requires a new scientific perspective. The goal of this article lies in examination of the historical and social peculiarities of the origin and development of space rock. The article presents futuristic interpretation of musicality of the celestial Universe. The article provides information about selected performers of this direction. Contextually, the article encompasses the stories of JULIAN'S TREATMENT and HAWKWIND. In reconstruction of the chronology for new interpretation, the author avoids repetitions and long descriptions of commonly known facts; aligns the key episodes of narration with the communication lines through the prism of social history; as well as gives assessment to the current situation and forecasts for the future. The recordings of space rock music stored in the audio archives, private collections, museums of music, and other sound libraries comprise the empirical basis for this publication. This article is first to offer periodization of the development of space music. The author’s special contribution of consists in clarification of the chronology of a range of recordings, as well as in familiarization of the audience with other aspects that are combined into a single concept. The provided material is intended for scholars in culture studies, musicologists, historians, archivists, as well as everyone interested in rock music.
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Malm, Tobias. "The ambivalence of becoming a small business: Learning processes within an aspiring rock band." Popular Music 39, no. 3-4 (December 2020): 585–99. http://dx.doi.org/10.1017/s0261143020000471.
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The process of becoming a rock musician strongly relates to the organisational form of the band (Bennett 1980; Green 2002; Behr 2010). At all levels of ambition and success, membership of a band provides the musician with a natural entry point for performing to an audience and forging a potential career (Smith 2013a). The ‘micro-organisational’ (Bennett 2001) development of a band, therefore, is an important career prerequisite for rock musicians (Behr 2015). However, the social and practical challenges of musicianship seem to be continuously underemphasised within the field of popular music studies (Cohen 1993; Kirschner 1998; Lashua 2017; Weston 2017; Kielich 2018). Therefore, in this article I will focus on an aspiring rock band's informal learning processes in becoming a small business together. The study provides insights into the educational and organisational aspects of band practices and contributes to the fields of popular music, education and organisation studies – fields that are converging in the emerging interdisciplinary research area of ‘organising music-making’ (Beech and Gilmore 2015).
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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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Krause, Amanda E., Simone Maurer, and Jane W. Davidson. "Characteristics of Self-reported Favorite Musical Experiences." Music & Science 3 (January 1, 2020): 205920432094132. http://dx.doi.org/10.1177/2059204320941320.
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Research supports the folk wisdom that individual preferences are tied to our experiences: we like what we know and as a result, we know what we like. Yet our understanding of the elements contained in lived examples of musical experiences that facilitate enjoyment and investment in music is little described. The current study recruited Australian residents ( N = 135) to complete an online survey, which asked them to describe their favorite musical experience with regard to its context and impact. The majority of favorite musical experiences involved listening to live music and performing. The descriptions provided indicated that these experiences resulted in layered emotional experiences, much more subtle than folk psychology would suggest. Further, thematic analysis results revealed that Gabrielsson’s Strong Experiences with Music Descriptive System adequately categorizes the elements of people’s favored experiences, with particular reference to general characteristics, bodily reactions, perceptual phenomena, cognitive aspects, emotional aspects, existential and transcendental aspects, and personal and social aspects. A wide variety of musical genres were involved, though pop, classical, rock, and hip-hop music featured predominately. By detailing key components which lead to favored musical experiences, the findings have implications regarding how musical engagement opportunities can be better designed to support continued musical investment, which has particular relevance for educational and community uses of music for fostering positive individual and community benefits.
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Yakhno, Olena. "Vocal stylistics in rock music: dialectics of general and special." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 279–92. http://dx.doi.org/10.34064/khnum2-21.18.
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The article aimed to identify the specific features of vocal style in rock music. This issue is considered in a complex way proceeding from the integral system of vocal intonation in its origins and evolution. It is noted that the vocal component in rock music is a synthesis of diverse origins, among which the primary and comprehensive is the song beginning, presented in all the diversity of its manifestations. Being assimilated into the forms of professional music-making, which include rock music and its historically closest source – jazz, the song component in rock music becomes the basis of meaning expression, takes the stage forms of representation, supplemented with various visual and acoustic effects and comes out to the stadium spaces with audience of many thousands. For the first time, the article proposes a systematization of those dialectical processes that were resulted in vocal rock stylistics and determined its fundamental pluralism – verballinguistic and musical-intonation, combined with social indication characteristic of rock aesthetics The article supports the idea, that vocal stylistics is a two-component concept in which two levels of terminological generalization are combined – general (“stylistics” as a set of techniques and methods, by which a music composition is created) and specific (“vocal”, which is determined by the genus of the music and its performers as a functional basis of genre). Any stylistic phenomenon, despite its concreteness, is characterized by the qualities of a meta-system, which is reflected in such concepts as “historical stylistics”, “genre stylistics”, “national stylistics” (E. Nazaikinsky). The specific stylistics, derived from the “style of any kind of music” (V. Kholopova), has the same qualities. Among them there is the vocal style which is associated with the musical implementation of the speech line, including such different forms of intonation as recitative, declamation, cantilena, also the song itself as a musical genre that incorporates all the features of “musical speech” (B. Asafiev). Therefore, the song, as the primary genre in the system of vocal intonation, was produced in the syncretism of playful forms of musical art, which included music, dance, and ritual (J. Huizinga). Keeping the quality of “conservatism” (O. Sokolov), the song on the way of its historical and evolutionary development acquired wide range of forms, being performed in different stylistic conditions and in different genre interpretations. The most general unification of multiformity of the song culture is the theory of three layers (V. Konen), in each of which it is presented as primary vocal intonation. However, despite its general origins, arising from the formula “a voice is a person” (E. Nazaikinsky), vocal art within each of the three layers – folklore, academic and the “third” – is distinguished by a number of specific features. A certain differentiation is also observed within each stratum, which also applies to the “third”, which is distinguished as something middle between folklore and academic. In the most general terms, “non-academic” vocals are distributed between such types of “third” music (V. Syrov) as jazz, rock and pop music. This article offers a comparative characteristic of the peculiarities of the varietyized forms of vocal style in rock music and jazz. Along with the general aesthetic, communicative and technological aspects, significant differences are observed here. The main one is the dominance of the vocal beginning in rock music and instrumental in jazz. At the same time, having emerged on a semi-folklore basis, as well as under the influence of entertaining forms of dance youth music of the 50s of the last century (rock & roll, youth protest songs, soul, funk, etc.), rock music has developed its own system of vocal intonation, which is distinguished by: 1) the priority of word over the music; 2) a special approach to improvisation, the role of which is less significant in rock compositions than in instrumental jazz (the exception is scat improvisation); 3) the tendency towards the revival of the genre of “poems with music”, which is peculiar to the academic song culture of Europe in the late 19th – early 20th centuries. The article proves that the “whateverism” of rock (V. Zinkevich) is not only in the variety in the “intonemas”, which are used in it (E. Barban), but also in all kinds of “splitting” of the vocal and the instrumental rock compositions into genre and stylistic subspecies. Acceleration of the processes of assimilation and modification of the intonation complexes, due to the system of musical mass culture, allows observation, since the second half of the XX century, the different hybrid varieties (jazz-rock, folk-rock, etc.) and the relatively new forms of vocal and speech music (freestyle, fusion) making with the connection of dance and theatrical components (disco, hip-hop, rap, R&B). On this basis, the vocal rock style is formed, which, however, has its own specifics. It always tends to the synthesis of music and words, and the word is often a priority and defines the ideology of rock as of a system of ideological and artistic communication. Based on the abovementioned, the conclusions are about the presence of processes of dialectical interaction in the vocal style of rock of the general (patterns of vocal sound, forms of the relations between music and word, genre origins of prototypes) and the special (their realization, at the level of aesthetics and poetics, – rock as a “way of thinking” and “lifestyle”, according to V. Zinkevich). It is noted, that the study of these processes supposes referring to specific samples – styles and compositions of rock bands confessing different points of view due to their art and the role of the vocal component in it. As the perspective, the national aspects of vocal rock stylistics need the studying, including such a little researched one as the Ukrainian.
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Holt, Fabian. "Rock Clubs and Gentrification in New York City: The Case of the Bowery Presents." IASPM Journal 4, no. 1 (March 11, 2013): 21–41. http://dx.doi.org/10.5429/584.
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This article offers a new analytical perspective on the relation between rock clubs and gentrification to illuminate broader changes in urbanism and cultural production in New York City. Although gentrification is central to understanding how the urban condition has changed since the 1960s, the long-term implications for popular music and its evolution within new urban populations and cultural industries have received relatively little scholarly attention. Gentrification has often been dismissed as an outside threat to music scenes. This article, in contrast, argues that gentrification needs to be understood as a broader social, economic, and cultural process in which popular music cultures have changed. The argument is developed through a case study of the Bowery Presents, a now dominant concert promoter and venue operator with offices on the Lower East Side. Based on fieldwork conducted over a three-year period and on urban sociological macro-level analysis, this article develops an analytical narrative to account for the evolution of the contemporary concert culture in the mid-size venues of the Bowery Presents on the Lower East Side and Williamsburg, Brooklyn, as a particular instance of more general dynamics of culture and commerce in contemporary cities. The narrative opens up new perspectives for theorizing live music and popular culture within processes of urban social change. The article begins by reviewing conventional approaches to rock music clubs in popular music studies and urban sociology. These approaches are further clarified through the mapping of a deep structure in how music scenes have framed the relationship between clubs and gentrification discursively. The article then examines the evolution of the Bowery Presents within the expansive process of gentrification. The focus is placed here on the cultural profile of the now dominant mid-size venue culture and on three stages in the development of the company and its field-structuring impact on rock clubs on the Lower East Side in particular. The conclusion sums up the key points and suggests that gentrification might involve changing conditions of artistic creativity and performance, with implications for fundamental aspects of urban life; a point illustrated by the trajectory of Occupy Wall Street.
Dissertations / Theses on the topic "Rock music – Social aspects"
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Berkland, Darren Gary. "Androcentrism and misogyny in late twentieth century rock music." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1021199.
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Judith Butler’s writings on gender ostensibly changed the way gender is considered with regard to an individual’s subjectivity. Her writings expressed a discursive parameter that changed the theoretical standpoint of gender from that of performance, to that of performativity. In short, the notion of gender became understood as a power mechanism operating within society that compels individuals along the heteronormal binary tracts of male or female, man or woman. Within the strata of popular culture, this binarism is seemingly ritualized and repeated, incessantly. This treatise examines how rock music, as a popular and widespread mode of popular music, exemplifies gender binarism through a notable ndrocentrism. The research will examine how gender performativity operates within the taxonomy of rock music, and how the message communicated by rock music becomes translated into a listener’s subjectivity.
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Stahl, Geoff. "Troubling below : rethinking subcultural theory." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/MQ43954.pdf.
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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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Thompson, Pamela J. "Rock and roll and the counterculture : the search for alternative values and a new spirituality." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59237.
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Both the counterculture and its music will be examined using the concepts of heteronomy, autonomy, and theonomy and their dialectical relationship according to Paul Tillich's theory of religion and culture. The main themes beneath the emergence of the counterculture will be outlined, and the ways in which the dominant culture of the time may be considered what Tillich describes as a heteronomous phenomenon will be presented. The historical significance of the counterculture will then be demonstrated in terms of Tillich's concept of kairos. Through examination of the lyrics of some of the most popular songs between 1965 and 1970, the years during which the movement was at its height, the ways in which the counterculture may be seen as autonomous protest will be discussed. This will be followed by an examination of theonomous elements apparent in the song lyrics and an evaluation of the movement in terms of the Tillichian dialectic.
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Ball, Rebecca Elizabeth. "Portland's Independent Music Scene: The Formation of Community Identities and Alternative Urban Cultural Landscapes." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/126.
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Portland has a rich, active, and fluid music culture which is constantly being (re)created and (re)defined by a loose network of local musicians who write, record, produce, promote, distribute, and perform their music locally (and sometimes regionally, nationally, and internationally) and local residents, or audiences, who engage in local musical practices. Independent ("indie") local music making in Portland, which is embedded in DIY (do it yourself) values, creates alternative cultural places and landscapes in the city and is one medium through which some people represent themselves in the community. These residents not only perform, consume, promote, and distribute local music, they also (re)create places to host musical expressions. They have built alternative and democratic cultural landscapes, or culturescapes, in the city. Involved Portlanders strive to make live music performances accessible and affordable to all people, demonstrating through musical practices that the city is a shared space and represents a diversity of people, thoughts, values, and cultural preferences. Using theoretical tools from critical research about the economic, spatial, and social role of cultures in cities, particularly music, and ethnographic research of the Portland music scene, including participant observations and in-depth interviews with Portland musicians and other involved residents, this research takes a critical approach to examining ways in which manifestations of independent music are democratic cultural experiences that influence the city's cultural identity and are a medium through which a loosely defined group of Portlanders represent their cultural values and right to the city. In particular, it focuses on how local musical practices, especially live performances, (re)create alternative spaces within the city for musical expressions and influence the city's cultural landscapes, as well as differences between DIY independent music in Portland and its commodified forms and musicians and products produced by global music industry.
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Shadrack, Jasmine Hazel. "Denigrata cervorum : interpretive performance autoethnography and female black metal performance." Thesis, University of Northampton, 2017. http://nectar.northampton.ac.uk/9679/.
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I am concerned with the performance of subversive ... narratives ... the performance of possibilities aims to create ... a ... space where unjust systems and processes are identified and interrogated. (Madison 280). If a woman cannot feel comfortable in her own body, she has no home. (Winterson, J; The Guardian 29.03.2013). Black metal is beyond music. It exceeds its function of musical genre. It radiates with its sepulchral fire on every side of culture [...] Black metal is the suffering body that illustrates, in the same spring, all the human darkness as much as its vital impetus. (Lesourd 41-42). Representation matters. Growing up there were only two women in famous metal bands that I would have considered role models; Jo Bench from Bolt Thrower (UK) and Sean Ysseult from White Zombie (US). This lack or under-representation of women in metal was always obvious to me and has stayed with me as I have developed as a metal musician. Women fans that see women musicians on stage, creates a paradigm of connection; that representation means something. Judith Butler states ‘on the one hand, representation serves as the operative term within a political process that seeks to extend visibility and legitimacy to women as political subjects; on the other hand, representation is the normative function of language which is said either to reveal or distort what is assumed to be true about the category of women’ (1). Butler references de Beauvoir, Kristeva, Irigaray, Foucault and Wittig regarding the lack of category of women, that ‘woman does not have a sex’ (Irigaray qtd. in Butler 1) and that ‘strictly speaking, “women” cannot be said to exist’ (Kristeva qtd. in Butler 1). If this is to be understood in relation to my research, my embodied subjectivity as performative text, regardless of its reception suggests that my autoethnographic position acts as a counter to women’s lack of category. If there is a lack of category, then there is something important happening to ‘woman as subject’. This research seeks to analyse ‘woman as subject’ in female black metal performance by using interpretive performance autoethnography and psychoanalysis. As the guitarist and front woman with the black metal band Denigrata, my involvement has meant that the journey to find my home rests within the blackened heart of musical performance. Interpretive performance autoethnography provides the analytical frame that helps identify the ways in which patriarchal modes of address and engagement inform and frame ‘woman as subject’ in female black metal performance.
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Cummings, Joanne. "Sold out ! : an ethnographic study of Australian indie music festivals." Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.
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The focus of this sociological research is on the five most popular and commercially successful Australian indie music festivals: Livid, Big Day Out, the Falls festival, Homebake, and Splendour in the Grass. The three key features of Australian indie music festivals are, firstly, that they are multi-staged ticketed outdoor events, with clearly defined yet temporal boundaries. Secondly, the festivals have a youth-orientated focus yet are open to all ages. Finally, the festivals are primarily dominated by indie-guitar culture and music. My aim is to investigate how these music festivals are able to strike an apparently paradoxical balance between the creation of a temporal community, or network of festivalgoers, and the commodity of the festivals themselves. My research methodology utilises a postmodern approach to ethnography, which has allowed me to investigate the festivalgoers as an ‘insider researcher.’ Data was collected through a series of participant observations at Australian indie music festivals which included the use of photographs and field notes. In addition I conducted nineteen semi-structured interviews and two focus groups with festivalgoers and festival organisers. The thesis adopts a post-subcultural approach to investigating the festivalgoers as an ideal type of a neo-tribal grouping. Post-subculture theory deals with the dynamic, heterogeneous and fickle nature of contemporary alliances and individuals’ feelings of group ‘in-betweeness’ in late capitalist/ global consumer society. I argue that Maffesoli’s theory of neo-tribalism can shine new light on the relationships between youth, music and style. Music festivals are anchoring places for neo-tribal groupings like the festivalgoers as well as a commercialised event. An analysis of the festivalgoers’ ritual clothing (t-shirts as commodities), leads to the conclusion that the festivalgoers use t-shirts to engage in a process of identification. T-shirts, I argue, are an example of a linking image which creates both a sense of individualism as well as a connection to a collective identity or sociality.
Through a case study of moshing and audience behaviour it is discovered that the festivalgoers develop neo-tribal sociality and identification with each other through their participation in indie music festivals. Although pleasure seems to be the foremost significant dimension of participating in these festivals, the festivalgoers nevertheless appear to have developed an innate sense of togetherness and neo-tribal sociality. The intensity and demanding experience of attending a festival fosters the opportunity for a sense of connectedness and belonging to develop among festivalgoers.
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Ballico, Christina. "Bury me deep in isolation: A cultural examination of a peripheral music industry and scene." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/682.
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Since 1998, Perth bands have had a strong presence within the Australian music scene. Primarily, each year between 1998 and 2009, songs by indie pop/rock acts from Perth have charted within national broadcaster triple j’s Hottest 100 countdown. Many of the albums from which these songs have been taken have sold in excess of 35,000 copies, and a number of successful and recognised Perth bands have toured with the nation’s largest music festival, the Big Day Out as well as their own high profile national tours. At the same time, Perth’s local indie pop/rock music industry has undergone tremendous growth and development, becoming more integrated into this nationally focused industry while also making significant inroads internationally. This research comprises 40 in-depth qualitative research interviews with 48 musicians and key industry players from Perth’s indie pop/rock music industry and scene. It presents a socio-culturally based examination to explore its evolution over the past decade. This is presented through an examination of the personal experiences of those involved in development of the local industry and who experienced, or witnessed an increase in success and recognition of Perth bands in national, and at times international, contexts. Broadly, this research explores the repercussions the shift in attitude toward Perth’s indie pop/rock music industry and scene as being worthy of national attention and recognition. In particular, it discusses the implications this has on the functioning of this industry as well as the careers of those within it. Further, this study examines what it means to be a musician and/ or music industry member in and from Perth along with the attitudes toward supporting local music product locally and its attempts to connect with audiences beyond the state. Within this, an examination of the influence of the city’s geographical isolation on the functioning of the local industry and on the ability for musicians to connect with audiences beyond the state is presented alongside an exploration of the role of social networks and the structure of the community of practice evident in this local industry. Additionally, the notions of creativity and creative process, core-periphery, and place and space are examined in relation to the functioning of this industry in business and creative contexts. Underwriting this is an examination of the shifts in the national and international music industries and associated music culture. These shifts all at once influenced the validity for Perth music to enter the national market and impacted upon the ongoing integration of this local industry within the national and international markets.
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Johnson, Alfred B. "Fascination machine : a study of pop music, mass mediation, and cultural iconography." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1185429.
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The mediation of popular musicians in the twentieth century results in the construction of cultural formations-mass mediated pop musician icons-that are, to various degrees, weighted down by the ideologies and concerns of those who receive them as mediated texts. In passing judgment on these cultural icons, the public engages in a massive act of reading, and in the process the icons become sites of personal and cultural signification. This study examines the nature of signification in and through mass mediated popular music icons by exploring the processes by which popular music icons are produced, circulated, and read as texts; and it examines, when appropriate, the significant content of these icons.
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Costa, Jacopo. "L'expérimentation dans la musique rock : recherches historiques, socio-économiques et analytiques." Thesis, Strasbourg, 2018. https://publication-theses.unistra.fr/restreint/theses_doctorat/2018/Costa_Jacopo_2018_ED520.pdf.
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La thèse traite des musiques qui, tout en étant enracinées dans la tradition du rock, dépassent les frontières — stylistiques mais aussi sociologiques et économiques — propres au rock : pour cette raison elles sont souvent regroupées dans le « genre » du rock expérimental. Mes recherches portent sur un choix d'artistes qui sont universellement considérés comme faisant du rock expérimental, à savoir Frank Zappa, le collectif Rock In Opposition, ainsi que le groupe italien Yugen, toujours en activité et en quelque sorte héritier de Rock In Opposition. L'analyse des démarches artistiques de ces artistes, ainsi que celle du cadre socio-économique où ils opèrent, met en cause l'idée que le rock expérimental puisse exister en tant que véritable genre de musique. Ce travail de recherche suit une approche pluridisciplinaire. Dans un premier temps, il est question de définir les traits constitutifs du rock, au niveau musical, sociologique et économique, et de comprendre dans quelle mesure la notion d'expérimentation a pu s'intégrer au rock au cours de l'histoire. Ensuite, je me concentre sur le positionnement socio-économique des musiciens qui font l'objet de la recherche. Enfin, dans la deuxième partie de la thèse, plusieurs morceaux du répertoire de ces musiciens sont analysés, afin de comprendre la spécificité et la diversification de leurs parcours artistiquesThis study examines the repertoires that, while rooted in the tradition of rock, transcend the boundaries - stylistic but also sociological and economic - of rock itself: for this reason they are often grouped together in the "genre" of experimental rock. My research focuses on a selection of artists who are universally considered to be experimental rock artists, namely Frank Zappa, the collective Rock In Opposition, as well as the Italian band Yugen, still active and in a way heir to Rock In Opposition. The analysis of the artistic approaches of these artists, and of the socio-economic framework in which they operate, calls into question the idea that experimental rock can exist as a true genre of music.The study follows a multidisciplinary approach. The first step is to define the musical, sociological and economic characteristics of rock music, and to understand to what extent the notion of experimentation has been integrated into rock throughout history. Next, I focus on the socio-economic positioning of the musicians who are the subject of the research. Finally, in the second part of the thesis, several pieces from the repertoire of these musicians are analyzed, in order to understand the specificity and diversification of their artistic paths
Books on the topic "Rock music – Social aspects"
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Wicke, Peter. Rock music: Culture, aesthetics and sociology. Cambridge: Cambridge University Press, 1990.
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Szatmary, David P. A time to rock: A social history of rock and roll. New York: Schirmer Books, 1996.
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Szatmary, David P. A time to rock: A social history of rock and roll. New York: Schirmer Books, 1996.
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1947-, Bennett Tony, ed. Rock and popular music: Politics, policies, institutions. London: Routledge, 1993.
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Wicke, Peter. Rock music: Culture, aesthetics, and sociology. Cambridge: Cambridge University Press, 1995.
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Wicke, Peter. Rock music: Culture, aesthetics and sociology. Cambridge: Cambridge University Press, 1987.
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Cooper, B. Lee. Rock music in American popular culture: Rock 'n' roll resources. New York: Harrington Park Press, 1995.
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S, Haney Wayne, ed. Rock music in American popular culture: Rock 'n' roll resources. New York: Haworth Press, 1994.
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Hoffmann, Beata. Rock a przemiany kulturowe końca XX wieku. Warszawa: Semper, 2001.
Find full textBook chapters on the topic "Rock music – Social aspects"
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Glen, Patrick. "Conclusions: Good Night to the Rock and Roll Era?" In Youth and Permissive Social Change in British Music Papers, 1967–1983, 233–38. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91674-3_7.
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DeGuglielmo, Nicolas, Cesar Lobo, Edward J. Moriarty, Gloria Ma, and Douglas E. Dow. "Haptic Vibrations for Hearing Impaired to Experience Aspects of Live Music." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 71–86. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-92163-7_7.
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Kölbl, Marko, and Fritz Trümpi. "Ambivalences in Music and Democracy: Introductory Remarks." In Music and Democracy, 7–16. Vienna, Austria / Bielefeld, Germany: mdwPress / transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839456576-001.
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Music and Democracy - Participatory Approaches explores music as a resource for societal transformation processes. It provides recent insights into how individuals and groups used and still use music to achieve social, cultural and political participation and bring about social change. The book gathers outstanding perspectives on the topic: From the promise and myth of democratization through music technology to the use of music in imposing authoritarian, neoliberal or even fascist political ideas in the past and present up to music's impact on political systems, governmental representation, and socio-political realities. It further features approaches in the fields of gender, migration, disability, and digitalization. Music and Democracy introduces a diversity of musical styles and political settings in various times and adds rarely discussed aspects to the topic.
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Greenberg, Yeshaya David M. "7. From the Sacred to the Ordinary through the Lens of Psychological Science." In Music and Spirituality, 139–58. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0403.07.
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Spiritual elements of music have been interwoven into the very fabric of human existence of millennia, and arguably at the foundation of musical experience. Yet there is next to no empirical research on the spiritual nature of music in any of the social or biological sciences. Here the author presents initial findings from an ongoing research program that consists of five empirical research studies aimed mapping the role of spirituality in musical experiences. From situations that are sacred to the ordinary, the findings converge to show that aspects of spirituality are infused within individual and group experiences of music, from music-making and singing to passive listening and personal preferences. Further, the findings point to universal elements underpinning the links between music and spirituality and its ability to cross cultures, including serving as a bridge to bond conflicting cultures together. This research program lays an empirical foundation on which future research can build.
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Uhde, Folkert, and Hans-Joachim Gögl. "16. Strategies of Proximity." In Classical Music Futures, 315–32. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.16.
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Since 2015, the two authors have been developing exceptional event concepts for, among others, the Montforter Zwischentöne festival, which they founded in Feldkirch, Austria, in the state of Vorarlberg. While it is clear that classical, new, improvised music and jazz invariably play a role at this festival with relatively traditional concert formats, there are moments when such forms of music are not the main focal point but support the exploration of other themes. Music may provide the impetus for dealing with a particular social or political issue, but it can also provide a resonating space for the spoken word. Such themes arise when dealing with the specific region in which the events take place and can stem from politics or regional development, touch on aspects of personal development, or address societal challenges. This chapter describes the authors‘ approaches to a new curatorial attitude in their event conception as ‘strategies of proximity‘. The authors also provide practical case studies from their work in Austria to accompany the theory offered in this text.
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Phillips, Michelle, and Amanda E. Krause. "17. Audiences of the Future." In Classical Music Futures, 333–54. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.17.
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The COVID-19 pandemic introduced audiences to new ways of engaging with artistic performance in an online environment (Rendell, 2020, terms this ‘pandemic media’). Multiple performers and organisations transferred live performances into a recorded or livestreamed format. However, at present, there is little research to support decisions that organisations may make in terms of how they do this, and what they deem to be important in how they record and / or stream. There is evidence to support the value of ‘liveness’ in music performance (Tsangaris, 2020), but what is this, and can it be replicated in online environment? This chapter will outline existing research regarding concepts such as liveness in music performance. The study discussed in the chapter will also discuss research regarding the live music experience as a social one, and the vital role that sharing musical spaces plays in social bonding and group coherence. This study examines questions including what listeners perceive to be the main differences between live and livestreamed attendance at music performance, and what constitutes ‘liveness’ in such performances. Data analysis suggests that audiences may have different motivations to attend live versus livestreamed performances, with the former being associated with having fun and a good night out, and shared experience, and the latter often about using time in a meaningful way and the sound quality available in livestreamed attendance at an event. ‘Liveness’ involves not only such factors as the opportunity to share an experience and interact with other audience members and performers, but also the sense of atmosphere, immersion, sensory experiences, and being physically present. When asked about the advantages and disadvantages of attending a livestreamed performance, audience members cite factors common to both live and online experiences such as the logistics, and whether they are with other people or not. However, a thematic analysis also reveals differences in what people see as the advantages and disadvantages of attending online, such as the emotional response to a live performance, and considerations around accessibility and the impact on the environment for online experiences. There is an urgent need in the music industry to better understand what the essential elements of a live performance are, and whether these aspects need to be, and indeed can be replicated in a livestreamed event, for example in terms of level of sound quality and emotional response.
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Brüstle, Christa. "Gender Issues as Criticism Within (New) Music Institutions." In New Music and Institutional Critique, 49–68. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_3.
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AbstractWhy is the thematisation of gender linked to social criticism and criticism of music institutions as well as criticism of music as institution? Institutions and institutionalised organisations should be regarded as intermediate instances located between society as a whole and the individual. In them, gender relations are created and reproduced, discussed, and transformed. The thematisation of gender and the associated criticism within institutions then means, above all, dealing with gender-specific power relations. Moreover, the spectrum of approaches in art and art studies for thematising gender ranges from criticism of the exclusion of women from history to criticism of the dominance of certain discourses. Therefore, the integration of gender in the field of music implies aspects and measures of institutional gender equality policy as well as fundamental perspectives critical of music discourses, music theory, and musicology, and thus also institutionally critical perspectives.
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Onians, John. "Understanding Rock Art: What Neuroscience Can Add." In Deep-Time Images in the Age of Globalization, 181–92. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54638-9_12.
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AbstractIn this chapter, I will make a case that neuroscience can help with the understanding of any art, and that in the context of rock art, with its deep history, it offers particular advantages. Most importantly it can give us new access to the minds of its makers and users, something much needed in the absence of the verbal commentaries associated with most other categories of material. That access, I suggest, can be obtained by using the latest knowledge of the extent to which the formation of the individual brain is affected by the environment to which it is exposed. This knowledge can help not only to reconstruct salient aspects of the neural resources of any individual or group whose material and social environment is sufficiently familiar to us, but also to infer how those resources are likely to have influenced such art-related behaviours as their motor inclinations and visual preferences. When these insights are supported by an understanding of such other newly discovered properties of our brains as its neural plasticity and neural mirroring, we can build up a new understanding of the mental activities behind the similarities and the differences in the way people living at different places and times have marked rock walls. A neural approach also allows us to re-evaluate assumptions about the history of culture that have been taken for granted in the fields of archaeology, anthropology, and art history, such as the pre-eminence of the role of language in the formation of culture and the associated insistence that art is necessarily a symbolic activity. In this way neuroscience can add a new dimension to cultural history.
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Goodyer, Ian. "Rock Against Racism, culture and social struggle." In Crisis music. Manchester University Press, 2013. http://dx.doi.org/10.7765/9781847793003.00013.
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Erlmann, Veit. "Music: Anthropological Aspects." In International Encyclopedia of the Social & Behavioral Sciences, 149–54. Elsevier, 2015. http://dx.doi.org/10.1016/b978-0-08-097086-8.12114-2.
Full textConference papers on the topic "Rock music – Social aspects"
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Tolstikov, A. S. "The Linguistic Revolution: A Study of Texts and Linguistic Trends in Rock of the 1970s and 1980s." In Scientific and Technical Creativiy of Youth - 2024. Siberian State University of Telecommunications and Information Systems, 2024. http://dx.doi.org/10.55648/nttm-2024-1-70.
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The article examines the influence of rock on the English language as part of world culture. Rock music has a profound impact on socio-cultural aspects, forming a linguistic picture of the world. The analysis of rock song lyrics focuses on language experiments and global influence. This research will help to understand the evolution of the rock language and its impact on the English language.
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ROMAN, Diana. "The Actor, Between the Self from Theatre and the Other from Music." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0021.
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The worlds of music and theatre have been brought together under the sign of scenic creation since the origins of the appearance of the theatre, the interdisciplinary artistic dialogue between the two arts sharing common aesthetic, psychological, psycho-social landmarks. The interactions between these worlds gave birth, finally, going through different forms and long searches, to the most original and popular theatre genre, the Musical. At the same time with technology and the digital revolution, live music, the orchestra, the musicians present on the stage of the theatre, were replaced with recordings, original stage music faces increasingly rare performance in theaters. The amazing intersection of theatre and music must be seen as a matter of course. My research will focus on the analysis of the fragile relationship between identity and alterity in the case of a few artists at the congruence between theatre and music (Ada Milea – A lost letter in concert, The Explorer, Chirița in concert, Răzvan Mazilu – Cabaret, Maria de Buenos Aires, Bobo Burlăcianu – Cats, The City, Metamorphosis, Alexander Hausvater – The Machine. Musical, Ada Lupu-Hausvater – Hamlet, Tibor Càri – The little prince). If a few years ago shows like Rocky Horror Show by Alexander Hausvater were considered original or controversial precisely because they skilfully crossed the boundaries between theatre and music, today we realize that the hybrid genre is also on an upward trend in terms of public taste (proof is The Young Actor`s Gala 2022 theme) and dramaturgy (Eugen Rotaru – Musical Theatre Plays), and of actors with professional training in both fields, tempted by the border between the arts. The cocreation experiences between the actor and the musician also bring with them important pedagogical aspects, resulting in an improvement of the work of each individual artist. The requirement to constantly search for new ways of artistic expression remains important, wich inevitably brings together artists from different art forms.
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Pandiova, Iveta. "STYLISTIC ASPECTS OF VOCAL INTERPRETATION IN THE CONTEXT OF NON-ART MUSIC." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s25.030.
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Karnik, Mayur. "Social aspects of music and interactive technologies in facilitating face-to-face interactions in third places." In Procedings of the Second Conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2079216.2079278.
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Wiflihani, Wiflihani, Pita Silitonga, and Herna Hirza. "Music in “Gobuk Melayu" Ritual Traditions: Study of Performance Aspects, Forms and Structures." In Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294720.
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Pandulcheva, Daniela, and Dancho Pandulchev. "Theo-anthropological aspects of paneurhythmy in physical education." In Antropološki i teoantropološki pogled na fizičke aktivnosti (10). University of Priština – Faculty of Sport and Physical Education in Leposavić, 2024. http://dx.doi.org/10.5937/atavpa24038p.
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We analyze Paneurhythmy through the perspective of the theo-anthropological approach to physical education. This psycho-physical system of exercises combines rhythmic movements with ideas, music, and poetry, performed in a group, with specific space organization, in the open. The author, Beinsa Douno, is a founder of a Christian philosophy for a life in harmony with nature, where exercising is important for personality development. We analyze: 1. Constituent elements: movements, music, and poetic text; 2. Performance: person, pairs, and group; 3. Education: relations and personality development. Conclusions: The movements are functional and suitable for all: multi-planar and multi-joint movements involving symmetrically the left and right parts of the body, with full range of motion in the joints, exercised in upright position, in walking, for coordination, balance and functional strength; the music is classical type for inspirational concentration and the poetic text is dominated by the notions for positive emotions, love and joy, and light, including the notion of God in non-religious context. During performance of Paneurhythmy the full potential of a person is activated, physical and spiritual, and social ethics develops by coordinating one's performance with the partner and the group around a unifying center. The educational process is founded on mutual respect and discussions focused on personality development and character qualities in a non-profit activity. Paneurhythmy exercises can be considered food for the body encouraging the creation of a harmonious exercising community. It can be an example a physical education practice in line with the theo-anthropological approach.
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Jucu, Ioan Sebastian. "WHEN LIVE PERFORMANCES, SHOWS AND CONCERTS OF LEGENDARY ICONIC ARTISTS MARK THE HISTORY OF THE CITIES." In 9th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscss.2022/s14.126.
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Some cities are frequently important venues for various spectacles, live performances, concerts and residency shows performed by the greatest artists of the world, therefore they contribute to the music tourism development and to the local economic development of the cities themselves through tourism and cultural events. A plenty of cities remain emblematic in this regard, but research on their cultural events are peripheral in the present geographical analysis. This paper discusses about an emblematic residency show of a legendary music icon held in Las Vegas as a major input both in the cultural background of the city as well as in its musical history. The research is based on quantitative and qualitative methods with statistical research, media and discourse analysis. The findings of the paper unveil that concerts, live performances, residency-shows and spectacles of the greatest artists of the world are important features of the cultural backgrounds of the cities that are visible in their cultural landscapes. Furthermore, they provide a large power of attraction of tourists and popular music consumers from the world over marking the cities� cultural background. These aspects largely under-studied from the geographical perspective call for further research and debates in the contexts of geography, music, music tourism and the cultural background of the cities.
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Antonoaie, Cristina. "ASPECTS REGARDING ICT TRUST, SECURITY AND PRIVACY IN EU COUNTRIES." In eLSE 2020. University Publishing House, 2020. http://dx.doi.org/10.12753/2066-026x-20-156.
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In today's world, using modern technology and especially the smartphone can ease a lot our work and other activities. But also the risk is very high. We can talk about several security concerns related to Internet usage. Many individuals are not aware of the threats that this usage is creating. Having installed an IT security software it is not mandatory for the moment, but it is more than necessary in protecting our personal information, documents, pictures and any other data. Security concerns already are limiting or preventing the individuals from ordering or buying goods or services from the Internet, or from carrying out internet banking, or from providing personal information to social or professional networking services, or from communicating with public services or administrations, downloading and submitting official forms, or from downloading software or apps, music, video files, games or other data files. The routine day-to-day activities on the Internet like sending or receiving e-mails, telephoning or video calls, posting messages to social media sites or instant messaging, participating in social networks, finding information about goods and services, reading or downloading online newspaper or news, downloading software, internet banking, travel and accommodation services, job search or sending an application, communication, finding different information that we don't' usually use or downloading /listening to/ watching / playing music, films and/or games it is something that people will always do. With the help of the data provided by EUROSTAT, we analyzed the main risks concerning ICT trust, security and privacy in EU Countries.
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Iazzetta, Fernando. "The Politics of Computer Music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10464.
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When a set of objects, actions, and procedures begin to coalesce and gain some coherence, they become perceived as a new, cohesive field. This may be related to the emergence of a new discipline, a new craft, or a new technological configuration. As this new field shows some coherence and unity, we tend to overlook the conditions that gave rise to it. These conditions become "naturalized" as if they were inherent in that field. From this point on, we do not wonder anymore to what extent the contingencies (formal, social, economic, technological, aesthetic, religious) that gave rise to that field have been crucial to its constitution. When it comes to computer music we are comfortably used to its applied perspective: tools, logical models, and algorithms are created to solve problems without questioning the (non-computational) origin of these problems or the directions taken by the solutions we give to them. The idea of computing as a set of abstract machines often hides the various aspects of the sonic cultures that are at play when we develop tools and models in computer music. The way we connect the development of computer tools with the contingencies and contexts in which these tools are used is what I call the politics of computer music. This connection is often overshadowed in the development of computer music. However, I would like to argue that this connection is behind everything we do in terms of computer music to the point that it often guides the research, development, and results within the field.
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Chen, Yen-Cheng, Bo-Kai Lan, Pei-Ling Tsui, Ming-Chen Chiang, and Ching-Sung Lee. "MUSICAL STYLE INDICATORS FOR CONSTRUCTING SUSTAINABLE CAFE ENVIRONMENTS." In 9th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscss.2022/s14.121.
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The design of restaurant environment and atmosphere is an important key to influencing consumer satisfaction and purchase intention. In the fiercely competitive catering industry, how to make restaurants stand out and enhance their own competitiveness for sustainable operation is an important topic currently faced by catering operators. Operators not only need to understand and listen to the voices of customers, but also strive to create a good and appropriate sustainable environment, provide consumers with a comfortable dining experience process and environment, and improve the overall dining experience of consumers, and continue to innovate and improve. Changes to meet the sustainable needs of consumers and the market. This research will use the Delphi expert questionnaire method and the five-sense atmosphere theory to explore and construct a set of styles and indicators that are suitable for the sustainable music environment of Taiwanese coffee and light food restaurants. The index method of this study adopts the Delphi expert research method, and conducts three rounds of expert Delphi method for experts and scholars with professional knowledge such as scholars in the field of catering and music, restaurant industry, and the characteristics of repeated feedback of their opinions make the results convergent , and then use the stability analysis and the average of each aspect of the third round of questionnaires as screening criteria. Finally, the aspects and indicators suitable for the design of the sustainable music environment and atmosphere of the coffee restaurant are extracted. The biggest research contribution and value of this study lies in the construction of indicators that are suitable for the selection of sustainable atmosphere of Taiwanese restaurant music environment, so that it can provide a reference for restaurants to improve sustainable service quality. It can also provide academia as a reference for academic research on sustainable service quality in restaurants.
Reports on the topic "Rock music – Social aspects"
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TABUNOV, I. A., A. P. LAPINA, M. M. KOSTYCHEV, P. S. BEREZINA, and A. V. NIKIFOROVA. METHODOLOGICAL RECOMMENDATIONS FOR COACHES WORKING WITH CHILD ATHLETES ENGAGED IN ROCK CLIMBING. SIB-Expertise, December 2022. http://dx.doi.org/10.12731/er0621.06122022.
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The methodological guide will present aspects that will be useful for coaches in working with their students, in particular psychological work with athletes during the training process and during the competition, and specifically in the pre-start period. It is important for the coach to teach the athlete the techniques of psychological protection, including restoring the stability control system, reducing feelings of anxiety and countering it. It is important to carry out special psychological training. Including effective preparation for competition, based on: social values; formation of mental "internal support"; overcoming psychological barriers. Every day the degree of development and influence of sports reaches a new level. Also, the requirements for athletes in technical, physical and tactical readiness are increasing, respectively, the result of competitive activity will already be determined by readiness and psychological attitude. Psychological preparation is a process aimed at creating a state of mental readiness for competition in athletes. This should be considered the subject of psychological preparation for competitions in sports.
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Berggren, Erik. Migration and Culture. Linköping University Electronic Press, August 2024. http://dx.doi.org/10.3384/9789180757638.
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This report is written by students in the Ethnic and Migration Studies Master’s Programme, part of the Research Institute in Migration, Ethnicity, and Society (REMESO) at Linköping University, based on the Norrköping campus. REMESO is an internationally renowned institute that pursues research in migration and ethnic relations. The Master’s Programme is highly sought after, with students coming from all over the world to attend. Their interest in how migration transforms the world and how it influences other social phenomena has fuelled their work in this publication. In their first year of studies, students take the course Critical Cases in Ethnic and Migration Studies, led by Erik Berggren as course coordinator and Kenna Sim-Sarka. The course is designed for students to apply the theoretical knowledge and experiences gained throughout the first year’s courses to produce articles beyond an academic audience for the broader public. Each REMS report is based around a specific theme, with previous themes including migration and Covid-19, migration and Ukraine, and migration and democracy. The REMS report is one of the many ways in which we, as students, are trained to identify and analyse issues related to migration, integration, and diversity and to make research accessible to a wider audience. This year’s overarching theme is Migration and Culture, sparked by recent developments in Sweden’s and Norrköping’s politics of decreasing and cutting funds for cultural activities. Arts and culture are both areas of expression for migrant communities and people on the move, as well as those fighting against racism, discrimination, and exclusion. The current debate on “Swedish culture” and on a “Swedish cultural canon” recalls monolithic understandings of culture as a natural and immutable construct, contributing to the polarisation of views rather than the multiplication of perspectives and conceptions of it. Like culture, which can be visualised as a tapestry created from different threads, different contributions, woven together to form something complex, this report is also a collection of varied articles, united by a common theme. Some articles in this report look at the accessibility of culture in Sweden and its transmission through all kinds of mediums, such as TV programmes; others engage artists or “social artists” who care about issues like migration and the fight against racism and discrimination, and some focus on specific aspects of culture and arts, such as language, food, and music. The first-year students of EMS, 2024.