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1
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.
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TAKALA, TUIJA, MATTI HÄYRY, and LAURENCE LAING. "Playing God." Cambridge Quarterly of Healthcare Ethics 23, no. 2 (February 4, 2014): 188–99. http://dx.doi.org/10.1017/s0963180113000728.
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Abstract:This article describes and introduces a new innovative tool for bioethics education: a rock opera on the ethics of genetics written by two academics and a drummer legend. The origin of the idea, the characters and their development, and the themes and approaches as well as initial responses to the music and the show are described, and the various educational usages are explored.
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Dyukin, Sergey. "Rock-Culture as a Method of Entering into Post-Industrial Culture." Ideas and Ideals 12, no. 4-2 (December 23, 2020): 394–411. http://dx.doi.org/10.17212/2075-0862-2020-12.4.2-394-411.
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Rock-music and rock-culture, which is formed on its basis, are methods of entering into culture of post-industrial society described by D. Bell, E. Toffler, F. Fukuyama and others. The correlation between rock-culture and post-industrial culture is established in the aspects of values, rules, practices and identities. In rock culture we can see the formation of the following values: creativity, initiative and individualism. Independence of creativity becomes an ethic imperative. It is more important than techniques and professionalism, which are characteristic of industrial culture. Exaggerated prevalence of innovation over playing tradition strengthens the status and role of the author striving for the permanent re-creation of his own image and style. Another quality, which helps rock culture penetrate into postindustrial society, is assimilation of daily routine by creative activity. This factor initiates consciousness emancipation and breakdown of hierarchical social structures. Rock-culture, as well as post-industrial society, experiences decentralization, de-synchronization and de-standardization. Such social-cultural disorder correlates with marginalization of rock-culture. It forms amateurism as a normative attitude that is opposed to professionalism. Finally the above-mentioned changes entail the collapse of the existing “big” identities, which are substituted by “small group” identities in rock-culture characterized by small potential for internalization. This change of identities, their overlapping triggers the formation of mental plurality, tolerance to mutually exclusive values, normative settings, practices and symbols. Mental pluralism allows a person to change quickly life strategies, respond to external challenges. The stable boundaries between private and public, between art and everyday life are being destroyed in the rock-culture. At the same time, the author highlights the fact that within rock culture entering post-industrial culture is carried out by non-linear way, with expenses and contradictions.
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Pruitt, Cenate. "“Boys ‘Round Here”: Masculine Life-Course Narratives in Contemporary Country Music." Social Sciences 8, no. 6 (June 7, 2019): 176. http://dx.doi.org/10.3390/socsci8060176.
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Country music remains one of the most popular genres in U.S. American society but is historically under-researched compared to rock, rap and other styles. This article extends the social science literature on the genre by examining themes of masculine identity in popular country hits of the current century. A content analysis of 35 top country hits from the last 15 years of the Billboard charts reveals three key masculine archetypes: the lover, the family man and particularly the country boy, which is the dominant masculine image within the last few years of the genre. Together, the three create a life-course narrative where the rambunctious country boy will eventually settle into monogamous heterosexual romance, with marriage and fatherhood presented as the ultimate achievement of successful manhood. A fourth, lesser, archetype, the roughneck, presents an “arrested development” version of the country boy, fully-grown but rejecting the social and familial responsibilities of the other archetypes. These narratives simultaneously challenge some aspects of hegemonic masculinity (urbanity, white-collar labor) while reinforcing others (whiteness, heterosexuality).
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Đorđević, Ana. "“The soundtrack of their lives”: The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 25. http://dx.doi.org/10.25038/am.v0i17.267.
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Crno-bijeli svijet [Black-White World, HRT, 2015–] is an on-going Croatian television series set in the early 1980s depicting the then-current pop music scene in Zagreb. The storyline follows several characters whose lives are intertwined by complex family relations, while also following the beginnings of new wave/punk rock bands and artists, and their influence on the Yugoslav youth who almost religiously listened to their music, like some of the series’ characters do.The role of music in television series is a complicated question that caught the attention of film music scholars in recent years. The significance – and, at the same time, the complexity – that music produces or can produce, as the bearer of cultural, social and/or political meanings in television series brings its own set of difficulties in setting out possible frameworks of research. In the case of Crno-bijeli svijet that is even more challenging considering that it revolves around popular music that is actively involved in, not just the series soundtrack, but several aspects of different narrative elements.Jon Burlingame calls the music of American television “The soundtrack of our lives”, and I find this quote is appropriate for this occasion as well. The quote summarizes and expresses the creators’ personal note that is evident in the use of music in this television series and myriad ways music is connected to other narrative and extra-narrative elements, and in a way, grasps the complicity of the problem I will address. Article received: March 31, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paper How to cite this article: Đorđević, Ana. “'The soundtrack of their lives': The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies 17 (2018): 25−36. doi: 10.25038/am.v0i17.267
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Pratiwi, Nuning Indah, Putu Ratna Juwita Sari, Putu Suparna, and Dio Komang Ajisaka. "THE MEANING OF THE LYRICS OF THE SONG "YANG TERLUPAKAN" BY IWAN FALS IN THE SEMIOTICS OF FERDINAND DE SAUSSURE." Journal of Digital Media Communication 2, no. 2 (2023): 93–97. http://dx.doi.org/10.35760/dimedcom.2023.v2i2.10335.
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Music is a way to convey messages or communicate using sound to people in different ways. Through music, musicians want to convey messages, explain, entertain others, and use lyrics as a means for the writer to express what they want. Lyrics have a message in the form of words or sentences used to create particular imaginations or conditions in the listener. Songs are also often used as a place to sympathize with the reality of what is happening or imaginative stories. One of the most famous musicians in Indonesia is Iwan Fals. He is a singer and songwriter with pop, rock, country, and folk-pop music styles. Amid the development of the Indonesian music industry, through his songs, Iwan Fals raises social issues in Indonesian life and global life from the late 1970s to the present. Iwan Fals tries to penetrate the boundaries of conventional realism by looking for aspects of reality that have never been shown before. Apart from the character of Iwan Fals' songs, which deal with many social phenomena, he also writes songs with romantic or love nuances where each part of the lyrics has a deep meaning, for example, the song "Yang Terlupakan." "Yang Terlupakan" was rated by Rolling Stone Indonesia magazine as the 42nd best Indonesian song out of 150 best Indonesian songs. "Yang Terlupakan" by Iwan Fals has a profound and robust message about regret for one's past and reality. To analyze the meaning of Iwan Fals' song "Yang Terlupakan," the author uses the semiotic theory of Ferdinand De Saussure. Semiotics, according to Saussure, is the study of signs in social life, including what these signs are and what laws govern the formation of signs.
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R, Harshika, and Shashi Nag. "The Influence of Music Genres on Fashion Styles; a Cross-Culture Analysis on Youngsters." International Journal for Research in Applied Science and Engineering Technology 12, no. 2 (February 29, 2024): 386–92. http://dx.doi.org/10.22214/ijraset.2024.58337.
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Abstract: This study roots into the complex relationship between music and fashion, aiming to reveal the significant impact of music on the continually changing fashion industry. It has long been acknowledged that music, as a potent cultural force, can influence social conventions, feelings, and manifestations. In a similar vein, fashion conveys identity, culture, and inventiveness through its visual language. This research attempts to clarify the mutually beneficial link between these two artistic mediums by investigating the ways in which music both actively influences and reflects fashion trends over time. The study takes an interdisciplinary approach, tracing the dynamic relationships between music and fashion through historical investigations, cultural studies, and sociological viewpoints. We examine how genres and subcultures make a lasting impression on fashion choices through case studies that range from the rebellious styles of the 1950s rock 'n' roll era to the avant-garde fusions of modern pop and hip-hop influences. The study looks at how celebrities, from present influencers like Rihanna to historical icons like Elvis Presley, become fashion trendsetters and change agents. The research also explores the psychological and emotional aspects of this link, looking at how design decisions, colour schemes, and even the general public's definition of beauty are influenced by the beat, lyrics, and spirit of music. The goal of the paper is to present a thorough understanding of the mutual effect between music and fashion, illuminating the processes by which cultural change is manifested visually. In summary, this study adds to the expanding literature of research examining the relationship between fashion and music, providing insights into the processes that influence fashion and stimulate innovation. Comprehending this mutually beneficial association enhances our admiration for both artis
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Arifin, Win Listyaningrum. "A Discourse Analysis on “Under the Same Sun” from Scorpions." Journal of Pragmatics Research 1, no. 1 (April 26, 2019): 78–88. http://dx.doi.org/10.18326/jopr.v1i1.78-88.
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The song "Under the Same Sun" firstly released in 1993 is a song written by famous rock group music namely Scorpions. This group is coming from Hannover, Germany. Though renowned phenomenally as a music group with loud genre but this song is a ballad one because it really tells the story of real-life people in the war zone while citizens of the world just show a little caring concern. The song portraits a common view on the hopelessness of victimized people in war zone who need for sympathy and empathy. Otherwise, they get no positive response from other people who live in comfort. This paper is a library research with a descriptive qualitative approach to investigate the discourse analysis of a song lyric. The approach is then used to analyze the data from the song lyrics. The discourse aims at finding the discourse on its grammatical aspect, lexical aspects, situational aspect, and contextual aspect. The study’s discourse analysis on the song lyrics reveals several features. From the grammatical aspect of this song revealed the references in the form of pronoun and demonstrative, ellipsis and conjunction. While in the lexical aspects, it found only two components, namely reps and collocation. The contextual analysis showed the cultural context and the context of the situation. Meanwhile, the situational context itself is divided into physical context, epistemic context and social context.Keywords: Grammatical Aspect, Lexical Aspect, Contextual Aspect
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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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Burton, Thomas L. "ROCK MUSIC AND SOCIAL CHANGE, 1953–1978." Loisir et Société / Society and Leisure 8, no. 2 (January 1985): 665–83. http://dx.doi.org/10.1080/07053436.1985.10715234.
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Syrov, Valery N. "The Communicative-Stylistic Aspects of Art-Rock." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2017): 27–34. http://dx.doi.org/10.17674/1997-0854.2017.2.027-034.
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Moghaddam, Kimia. "Rock music fans’ subculture in Tehran." Social Responsibility Journal 11, no. 3 (August 3, 2015): 424–38. http://dx.doi.org/10.1108/srj-11-2014-0151.
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Purpose – The purpose of this paper is to the investigate the rock music, and in particular the genre known as heavy metal, subculture in Iran and identify its relationship to social responsibility. Design/methodology/approach – The research was conducted qualitatively through in-depth interview with more than 100 rock music fans who identify themselves as belonging to the particular subculture under investigation. It also investigates the history of such music within the country to explain that it is marginalized and forbidden in a way which is not generally understood in Western countries. Findings – The findings of the paper show that the fans of the music identify themselves as a particular subculture within the society and share not just an interest in the music but also in social concerns, politics and religion. Social implications – This paper shows that subcultures are interrelated with social responsibility and that this is dependent upon the nature of the society in which the subculture resides. This is important in understanding the dynamics of change within a country. Originality/value – This is one of the very few papers which looks at the link between subcultures and social responsibility and, therefore, is important in showing that social responsibility can develop independently of any organization while not being bounded by the nature of the society which spawns it.
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Rosenthal, Maximilian. "Players as Rock Stars." Journal of Sound and Music in Games 5, no. 3 (2024): 43–73. http://dx.doi.org/10.1525/jsmg.2024.5.3.43.
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Music-based social interaction games are a recent, specific niche of analog games that are made possible through the advent of music streaming and widespread availability of music playback. This article investigates the card game Song Saga (2020) as an explorative case study for such social interaction games, and explores the possibilities in the application of quantitative and qualitative text corpus analysis for such games and musicology/game studies in general. Analyzing both the paratexts and the text of Song Saga, the article explains how Song Saga invites its players to view themselves and their biographies through the lens of rock stardom. In this sense, the design of the game ultimately conceptualizes music as a universal biographic asset and replaces the music’s creator as the music’s protagonist with the recipient.
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Tjora, Aksel. "The social rhythm of the rock music festival." Popular Music 35, no. 1 (November 30, 2015): 64–83. http://dx.doi.org/10.1017/s026114301500080x.
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AbstractOn the basis of observational studies in a number of rock music festivals during the period 2004–2012, I ask the following question in this paper: how does the music festival community arise and how is it maintained? With the help of perspectives from interactionist sociology and organisational studies I develop an analysis of how rock music festival ‘skills’ are collectively produced. A communally acknowledged competence is negotiated and made explicit by means, among other things, of the synchronisation of a daily rhythm that becomes common to many festivals. The present analysis will employ a close description of this rhythm's phases, and how transitions between them are interactively negotiated. While rock music festivals certainly celebrate fandom, this paper draws attention to processes that build strong senses of community between participants while joining together in the camping site, outside stage areas. The social rhythm, as it is interactively and artfully produced between participants, makes the festival recognisable as a festival, and attractive as a social event. A profound sense of connectedness between participants is to be found between the tents in the festival camp.
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Pogačar, Martin. "Music and Memory: Yugoslav Rock in Social Media." Southeastern Europe 39, no. 2 (August 9, 2015): 215–36. http://dx.doi.org/10.1163/18763332-03902004.
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This article argues that after the disintegration of Yugoslavia, Yugoslav rock music lost little cultural value and is still a prominent trigger of vernacular memories of the socialist Yugoslav past, as well as a vehicle of socio-political commentary in post-Yugoslav contexts. In this view, music is understood as a galvaniser of affective relationships to that past and to post-Yugoslav presents. In the first part of the article, the author discusses the theoretical and practical implications of digitally mediated music as immersive affective environments, working within the framework of media archaeology and a digital archives approach. It is argued that Yugoslav rock has retained its potency and appeal, where today, in a post-Yugoslavia context, it presents an outlet for the recomposition of musical preferences through nostalgia and opposition to the post-1991 socio-political developments. In the second part of the article, focusing on Facebook and YouTube, the author investigates how Yugoslav rock has been reframed in social media and how fragments of the country’s past are reframed in digital media environments. A qualitative multimodal discourse analysis is employed here to investigate a selection of fan pages of rock musicians and bands.
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Mezzana, Daniele, Aaron Lorenz, and Ilan Kelman. "Islands and Islandness in Rock Music Lyrics." Island Studies Journal 7, no. 1 (2012): 69–98. http://dx.doi.org/10.24043/isj.263.
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This paper presents a first exploration, qualitative in character, based on a review of 412 songs produced in the period 1960-2009, about islands in rock music as both social products and social tools potentially contributing to shaping ideas, emotions, will, and desires. An initial taxonomy of 24 themes clustered under five meta-themes of space, lifestyle, emotions, symbolism, and social-political relations is provided, together with some proposals for further research.
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Hansen, Christine Hall, and Ranald D. Hansen. "Rock Music Videos and Antisocial Behavior." Basic and Applied Social Psychology 11, no. 4 (December 1990): 357–69. http://dx.doi.org/10.1207/s15324834basp1104_1.
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Oliveira Medeiros, Isabella, Simone Evangelista, and Simone Pereira de Sá. "Rock versus pop: symbolic disputes at Rock in Rio music festival." Arts and the Market 11, no. 2 (April 30, 2021): 136–46. http://dx.doi.org/10.1108/aam-09-2020-0043.
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PurposeThe paper aims to discuss the tensions between rock and pop genres at Rock in Rio, the most significant music festival in Brazil (which also has had international editions in Portugal, Spain and the USA), analyzing the construction and consolidation of Rock in Rio as a rock-related brand and mapping the disputes, negotiations and controversies between rock and pop music fans.Design/methodology/approachThe authors analyze those facts from a framework composed by discussions about musical genres (Frith, 1996; Blacking, 1995), social constructions about rock and pop, as well as debates about taste as performance (Hennion, 2007) on digital platforms. The corpus consists of 58 posts published between 2018 and 2019 in the period prior to Rock in Rio 2019, analyzed qualitatively.FindingsBy recalling the history of Rock in Rio, the authors demonstrate that the discourses and strategies involving the festival are contradictory, which reflects on disputes about the meanings of festivals on social media. A diverse set of controversy was found, such as discussions about the artists' authenticity as well as arguments that refer to the social constructions linked to certain musical genres.Originality/valueThe paper analyzes the Rock in Rio music festival from a perspective that is not observed very often, offering insights about the relevance of music genres as mediators of the perception of the festival as a brand and the controversies involving fans and anti-fans.
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Komlenić, Miroslav. "ROCK MUSIC, SUICIDE AND MEDIA INFLUENCE." MEDIA STUDIES AND APPLIED ETHICS 3, no. 1 (March 11, 2021): 23–33. http://dx.doi.org/10.46630/msae.1.2021.02.
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Suicide risk factors usually include: previous attempts, depression, comorbidity of alcohol consumption and drug abuse, gender (three to four times more suicides in men than in women), family history of psychiatric disorders, environmental and social factors such as periods of major social changes or movements: revolution, industrialization, secularization, migration, wars and the like. In this paper we should try to approach the problem by looking into the hypothesis of some researchers that rock music, or rock and hippie movements from the 60s to the end of the 80s of the 20th century, are included in these social risk factors, directly or indirectly. The arguments that the authors refer to are mainly: numerous suicides among both performers and listeners of rock music, many cases of emulated suicides of rock stars by fans, a large number of songs whose content speaks of suicide, evidence on the spot of suicide related to listening to such songs at the time of committing suicide, many lawsuits and trials against rock composers and performers by grieving relatives, etc. The aim of this paper is to analyze critically these facts as problematic for stating them as causes of suicide. Additionally, the paper aims to explain that for already predisposed, latent suicidal people, this type of music is only a mediator towards more intense socializing with similar listeners, indulging in latent suicide activities such as alcohol consumption and drug abuse and only subsequently to depression and suicide. Since suicide does not have to be associated with depression and the death drive, but on the contrary with the urge to live and the desire to be prominent, loved and remembered, the thesis that suicides of rock artists and supporters belong to this category should not be removed.
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Robinson, Thomas O., James B. Weaver, and Dolf Zillmann. "Exploring the Relation between Personality and the Appreciation of Rock Music." Psychological Reports 78, no. 1 (February 1996): 259–69. http://dx.doi.org/10.2466/pr0.1996.78.1.259.
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Scores on five personality characteristics, extraversion, neuroticism, and psychoticism as well as reactive and proactive rebelliousness, and the appreciation of soft/nonrebellious and hard/rebellious rock-music videotapes were explored. After completing the personality tests, female and male undergraduates were exposed to rock-music videotapes and asked to rate various aspects of their enjoyment of each. Analysis indicated that psychoticism and reactive rebelliousness were associated with enjoyment in a parallel fashion. Specifically, respondents scoring high on psychoticism or high on reactive rebelliousness enjoyed hard/rebellious rock-music videotapes more than did their peers scoring low on psychoticism or low on reactive rebelliousness. The reverse was evident for the enjoyment of soft/nonrebellious rock-music videotapes. In contrast, scores on extraversion, neuroticism, and proactive rebelliousness were not associated with enjoyment. Gender differences emerged, however; women ( n = 78) enjoyed soft/nonrebellious rock music more than did men ( n = 60); and conversely, men enjoyed hard/rebellious rock music more than did women.
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Smith, Gareth Dylan Smith, Warren Gramm Gramm, and Kenrick Wagner. "Music education for social change in the United States: towards artistic citizenship through Little Kids Rock." International Journal of Pedagogy, Innovation and New Technologies 5, no. 2 (December 30, 2018): 11–21. http://dx.doi.org/10.5604/01.3001.0012.8539.
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Public education in the United States is often woefully under-funded, especially in the arts, despite a federal mandate to provide music education for all. Where music programs exist in US schools, they tend to focus on teacher-directed large ensembles that afford students little agency or creative opportunity, playing music that alienates a majority of young people. Faced with the volume of evidence pointing to the benefits of including music in a well-rounded education, philanthropy-funded nonprofit companies such as Little Kids Rock step in to fill the vacuum in state provision. This paper is a descriptive, intrinsic case study that describes how Little Kids Rock provides culturally relevant music making experiences for young people in schools, through a learning approach called music as a second language and alternative music classes termed modern band. Little Kids Rock builds a nationwide community of innovative music pedagogues by training teachers, donating musical instruments and sharing original curricular resources. This paper includes examples of two modern band teachers – one working in a rock band context, and the other a hip hop facilitator. The work of these and other teachers is ever more urgent in an era in which the U.S. perpetuates an intense neoliberal capitalism that oppresses and marginalizes vast numbers of its own people. Little Kids Rock aims to foster artistic citizenship wherein music makers recognize social and emancipatory responsibilities with the aim of transforming lives for the better.
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Boivin, Nicole. "Rock art and rock music: Petroglyphs of the south Indian Neolithic." Antiquity 78, no. 299 (March 2004): 38–53. http://dx.doi.org/10.1017/s0003598x00092917.
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The rock art of Kupgal, south India, represents an archive of images amassed over five millennia. The author works out a first sequence and shows how the Neolithic petroglyph site may have functioned in its landscape – as a ritual locality at which not only images but sound, performance and social relationships were all prominent.
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Bogt, Tom T., William W. Hale, and Andrik Becht. "“Wild Years”: Rock Music, Problem Behaviors and Mental Well-being in Adolescence and Young Adulthood." Journal of Youth and Adolescence 50, no. 12 (October 11, 2021): 2487–500. http://dx.doi.org/10.1007/s10964-021-01505-0.
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AbstractAdolescent preferences for non-mainstream types of rock music can be markers of adolescent problem behaviors, but no study has ever investigated whether this relationship continues into adulthood. In a six-wave study, 900 Dutch adolescents were followed from ages 12 to 21 (Mage T1 12.4, 51.1% girls), while reporting on depressive symptoms, mental well-being, aggression and drug use. A latent class growth analysis on their preferences for specific types of rock music revealed four fan groups. When these fan groups were compared to one another, in adolescence, the all-out rock fans displayed the highest peak in depressive symptoms and the lowest dip in well-being and the rock/metal fans reported the most aggression. And for both these groups, drug use increased at the onset of adulthood. Pop fans displayed a profile characterized by low depressive symptoms and aggression, and high in mental well-being. Finally, the popular rock fans held an in-between position between pop fans, on one side, and the all-out rock fans and rock/metal fans, on the other side. Thus, music preferences can be markers of problems, not only in adolescence but also in young adulthood. Still, music can enhance mood, helps to cope with problems, and peers in fan groups can provide support. This research focuses on the relationship between music and problem behaviors, specifically among members of the all-out rock fans and rock/metal fans, but many of these young people might have had more personal problems if they had not had their music and their fan-group peers.
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Grácio, Rita. "Daughters of Rock and Moms Who Rock: Rock Music as a Medium for Family Relationships in Portugal." Revista Crítica de Ciências Sociais, no. 109 (May 1, 2016): 83–104. http://dx.doi.org/10.4000/rccs.6229.
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Fornäs, Johan. "Moving Rock: Youth and pop in late modernity." Popular Music 9, no. 3 (October 1990): 291–306. http://dx.doi.org/10.1017/s0261143000004104.
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What is moving in rock and pop? This question concerns both what levels change in the popular music arena, and how music can initiate changes inside and outside itself. Revolution in popular music can mean radical transformations of music itself, as well as the way in which social and psychic changes express themselves in music. Musical forms can go through revolutionary changes, and musical content can thematise revolutions.
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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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Russell, Craig H., and David P. Szatmary. "Rockin' in Time: A Social History of Rock and Roll." American Music 7, no. 4 (1989): 467. http://dx.doi.org/10.2307/3051918.
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Kotarba, Joseph A. "Rock 'n' Roll Music as a Timepiece." Symbolic Interaction 25, no. 3 (August 2002): 397–404. http://dx.doi.org/10.1525/si.2002.25.3.397.
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Yakhno, О. І. "Paradigms of rock music and jazz: comparative discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 161–76. http://dx.doi.org/10.34064/khnum1-53.10.
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Objectives and methodology. The article is devoted to the revealing of the relation and differences between rock music and jazz, as the phenomena of the “third” layer. It is noted, that, in methodological terms, such a comparative approach is advisable to implement with the use of a paradigm apparatus that fixes a certain commonality in the development of each of the studied phenomena at different stages of evolution. The application of this concept to the phenomena of art is a characteristic feature of modern musicology. In the broadest sense, the paradigm is the possibility of “thinking by analogy” (according to Aristotle), and in music it relates both to the field of theory (views on music as a form of art) and practice (musical and artistic phenomena as the products of composer and performing art).The article proposes a classification of rock music paradigms, which are based on the available data on the aesthetics and communication of jazz and notes that rock music on the path of its evolution has passed a number of stages, which in general can be designated as paradigms. The article suggests a comparative description of the movement of aesthetic and communicative paradigms of jazz and rock music. It is noted that in jazzology this issue has long been relevant, which is not the case for the study of rock music. Despite all the differences in the time of emergence and the nature of evolution, vocabulary and semantics, social functions, jazz and rock have many “common points”. The results of the research. Such features, of jazz and rock music, as improvisational nature, a variety of intonational sources that combine multinational and diverse trends are revealed and systematized as common points. Among the special features are distinguished such as the reliance of jazz mainly on the instrumental and rock music on a mixed vocal and instrumental basis; first is referring to “elitist”, second is referring to “mass”. Various syntheses are also common in jazz and rock music, as well as the correlation of composition and improvisation, performing and authorial principles. It is not so much about mutual influences and syntheses, but about the directions of evolution, the general nature of which is defined as the movement from “realistic” to “phenomenological” (A. Soloviev on the jazz paradigms). At its onset, rock music, like jazz, has been “embedded” in the system of the social and political movement, where its autonomous aesthetic function was not yet identified (youth movements of the 1960s, within which the corresponding “protest music” arose). In the process of mastering vocabulary specific to rock music as a phenomenon of the “third” layer, a new paradigm arose, characterized first as conventionally realistic, and then as conventionally autonomous, where rock music reaches the level of professional art in which laws and rules are established by its representatives themselves (this period begins from the Beatles and will continue further by their followers – “Rolling Stones”, “Led Zeppelin”, “Deep Purple” and other groups). It is noted that “people of rock” as well as “people of jazz” are a special social and communicative community, in which the idea of free communication is the main and determining one, where social, interpersonal, and actually musical factors intertwine. The unifying communicative factor in jazz and rock music is the art of improvisation, in which, in symbiosis, the processes of creating and performing music coexist spontaneously, but are subject to certain paradigm settings. It is emphasized that in the social context, jazz and rock differ in ethnic and age factors, which, however, is eventually overcome in modern global society through consolidation (convergence of African-American and European sources of jazz, transition of rock groups to a more general theme that differs from the original youth focus). It is also noted that rock music, unlike jazz, is too deeply connected with social factors and is always based on topical themes, generalized with varying degrees of artistry. Therefore, its degree of autonomy is much lower than that of elite jazz, which by the last decade of the 20th century had turned into the officially recognized salon art, or into a “conglomerate” consisting of pop elements of various kinds close to the aesthetics of the show industry. It is proved that the differences between jazz and rock music are most clearly manifested at the level of radical-and-phenomenal paradigm, which means plunging into the realm of banal “nothing”, where acts (but actually – does not act) the principle of “no wave” (A. Soloviev about jazz) . While jazz in the post-bop period developed towards elite art under the Free rubric, the extreme expression of which was spontaneous collective “impersonal” (lack of leadership, lack of frontman), the style of rock music developed in a different direction, the vector of which can be considered the opposite of jazz. Firstly, in the field of stylistics and language as its primary carrier, rock music meant a return to improvisational syncretism – a dramatic combination of poetry and music. Secondly, rock music is directly immersed, unlike elite jazz with its style of full linguistic freedom and collage, in the realm of relevant musical and poetic vocabulary, coming not from the rhetorical type of creativity (translating “artificial” into “new artificial”), but from the realities of the set of generally accessible linguistic means, which exists at a given historical moment (and in a certain “geography”). In the conclusions of the article, it is noted that rock music, even in its experimental radical and phenomenological manifestations, associated mainly with the sound realm (electronics, dynamics), remains, as a whole, the phenomenon of pop culture. This does not mean the absorption of rock art by the realm of mass consumerism. The best rock music pieces, which have already become classic, combine in reasonable proportions the “elite” (innovative) and “mass” (traditional), give a special rational embodiment of the idea of combining improvisation and composition – the “cornerstone” in the musical art of the entire “third” layer. The aesthetics and communication of rock music in its latest paradigms are differentiated according to the criteria of various stylistic inclinations – genre, national, regional, personal. Therefore, the study of modern rock music is the task of a number of separate studies devoted to specific issues of the problem, in particular, its main difference from jazz, namely, in the vocal and instrumental nature.
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McLEOD, KEN. "Bohemian rhapsodies: operatic influences on rock music." Popular Music 20, no. 2 (May 2001): 189–203. http://dx.doi.org/10.1017/s0261143001001404.
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Opera and operatic images have invaded nearly all aspects of popular culture. Films (even silent films), radio, television, literature and numerous other media have all, to one degree or another, appropriated either actual opera or operatic devices and conventions. One important realm of popular culture that has appeared relatively immune to operatic influence, however, is rock music. Though several studies have illustrated the impact of ‘classical’ instrumental music on heavy metal and pop music, no serious scholarship has as yet explored the considerable influence exerted by opera, and its conventions, on various forms of rock music (Aledort 1985; McClary and Walser 1990; Walser 1992; Covach 1997). This essay examines the various manifestations of opera in rock music with particular concentration on works by Queen, Nina Hagen, Klaus Nomi and Malcolm McLaren that employ specific instances of operatic vocality or borrowing. Such opera–rock fusions are often predicated upon the transgression of conventional musical boundaries and often reflect an analogous rejection of traditional cultural boundaries surrounding sexual orientation, gender and class. Long overlooked, recognising opera's cross-relations with rock offers new insights into the postmodern blurring of traditional distinctions between ‘high’ and ‘low’ art and broadens our understanding of both genres.
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Shlyakov, Alexey V., and Lidia V. Rebysheva. "A comparative analysis of the sociocultural origins of rock music in the USSR and the USA." Proceedings from Higher Educational Institutions. Sociology. Economics. Politics 16, no. 2 (2023): 99–111. http://dx.doi.org/10.31660/1993-1824-2023-2-99-111.
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The article is devoted to a comparative analysis of the sociocultural foundations of the emergence of rock music in the USA and the USSR. The aim of the study is to identify the genesis of rock music and to analyze its characteristics in the United States and the Soviet Union. The authors have shown that a significant factor influencing the birth of rock music in the United States was the post-war socio-economic conditions: the absence of destruction in the country's infrastructure, the concentration in the United States of scientists who had fled fascism in Europe, the orientation of the country's budget towards the socio-economic sector, the demographic explosion, the emergence of leisure time. The Soviet Union, which had suffered catastrophic human losses and destruction of industry because of the war, focused the budget on raising the national economy and strengthening the military-industrial complex, so the appearance of rock music in the USSR became possible only after a full economic recovery. Despite the initial copying and imitation of American rock music by Soviet performers, the authors of the article found differences both in the musical material (form - content) and in the ideological (consumerism - sacrifice) and teleological (commodity - mission) aspects of rock music. The results of the study may be useful for philosophers, cultural scientists, as well as teachers of secondary and higher educational institutions to demonstrate the identity of the Russian cultural path using the example of rock music.
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Knobloch-Westerwick, Silvia, Paige Musto, and Katherine Shaw. "Rebellion in the Top Music Charts." Journal of Media Psychology 20, no. 1 (January 2008): 15–23. http://dx.doi.org/10.1027/1864-1105.20.1.15.
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Abstract. In spite of great public concern about offensive messages in hip-hop/rap and rock, actual quantitative prevalence is rarely examined. This investigation analyzed 260 rap/hip-hop and rock songs from the top-charts of 1993 and 2003 for rebellious messages about impulsive and hostile behaviors. Results show that the majority of top songs contain rebellious messages. Songs with messages about impulsiveness are more common than those about hostility in the rap/hip-hop genre and have increased.
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Tan, Ivan, Ethan Lustig, and David Temperley. "Anticipatory Syncopation in Rock: A Corpus Study." Music Perception 36, no. 4 (April 1, 2019): 353–70. http://dx.doi.org/10.1525/mp.2019.36.4.353.
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While syncopation generally refers to any conflict between surface accents and underlying meter, in rock and other recent popular styles it takes a more specific form in which accented notes occur just before strong beats. Such “anticipatory” syncopations suggest that there is an underlying cognitive representation in which the accented notes and strong beats align. Syllabic stress is crucial to the identification of such syncopations; to facilitate this, we present a corpus of rock melodies annotated with lyrics and syllabic stress values. We propose a new measure of syncopation that incorporates syllabic stress; we also propose a measure of anticipatory syncopation, and show that it reveals a strong presence of this type of syncopation in rock music. We then use these measures to explore other aspects of syncopation in rock, including its occurrence in different parts of the 4/4 measure, its dependence on tempo, its historical evolution, and its aesthetic functions.
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PALMER, JOHN R. "Yes, ‘Awaken’, and the progressive rock style." Popular Music 20, no. 2 (May 2001): 243–61. http://dx.doi.org/10.1017/s026114300100143x.
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Going for the One was a good rebirth of Yes at that time, to find its feet and really know what it wanted to do. And we made ‘Awaken’ . . . (Morse 1996, p. 58).Since the release of their third recording, The Yes Album, in March 1971, the music of the English band Yes has been associated with the rock music substyle called ‘progressive rock’. The first two Yes albums showcase a very capable, inventive group of musicians who drew freely from the multitude of sounds around them, emulating aspects of the various musical styles they found engaging. However, it was not until they composed the works appearing on The Yes Album that the band coupled this eclecticism with a quest for originality to develop a voice highly idiosyncratic when judged against prevailing popular music styles. Subsequent albums reveal a predeliction for experimentation and expansion, and successful record sales in both the UK and US encouraged further development in the same direction. Although not members of the ‘first wave’ of progressive rock bands, Yes became ‘codifiers’ and for many, especially later detractors, the flagship of the ‘progressive' fleet. Before I go on to describe and illustrate, through the analysis of a particular song, aspects of Yes's musical language, I will briefly describe the environment in which it appeared and flourished.
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Siles, David. "Social Sustainability in Music Festivals: The Case of Rock Imperium." International Journal of Social Sustainability in Economic, Social, and Cultural Context 20, no. 1 (2024): 83–100. http://dx.doi.org/10.18848/2325-1115/cgp/v20i01/83-100.
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Godeli, Maria Regina C. S., Paulo R. Santana, Vera H. P. Souza, and Gisele P. Marquetti. "Influence of Background Music on Preschoolers' Behavior: A Naturalistic Approach." Perceptual and Motor Skills 82, no. 3_suppl (June 1996): 1123–29. http://dx.doi.org/10.2466/pms.1996.82.3c.1123.
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27 preschool children were observed naturally during classroom activities. Observations of behaviors of Social Interaction, Spatial Localization, and Posture categories were made under music (folk or rock and roll) and no music conditions. Music selections favored child-to-child social interaction.
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Guerra, Paula. "Keep it rocking: The social space of Portuguese alternative rock (1980–2010)." Journal of Sociology 52, no. 4 (July 10, 2016): 615–30. http://dx.doi.org/10.1177/1440783315569557.
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The main goal of our approach is to analyse the social representations of alternative rock in Portugal (or, using a terminology more akin to 1980s Portugal, of the “modern music vanguard”) from 1980 to 2010. This is part of broader research into the 30 years of modernization of the country (from the post-revolutionary period initiated in 1974 on), in which alternative rock is regarded as a significant social practice within the scope of the social, artistic and musical structuring of the country itself. We consider that alternative rock is a subject that is illuminated by Bourdieu’s theory of fields, without overlooking its clear interconnection with ‘art worlds’ or music scenes, and the aesthetic cosmopolitanism of late modernity. The article is a pioneering work on the Portuguese sociology of culture, whose results may be the starting point of a debate to problematize the functional logic of popular music in various Anglo-Saxon settings.
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Novrizal, Ricko Salza, Asep Bayu Dani Nandiyanto, Tedi Kurniawan, and Muhammad Roil Bilad. "The Influence of Junior High School Students' Musical Preferences on the Learning of Basic Music Theory." Indonesian Journal of Multidiciplinary Research 2, no. 1 (September 4, 2021): 21–26. http://dx.doi.org/10.17509/ijomr.v2i1.38615.
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At this time, many types of music emerged and exposure to them was helped by the rapid information received from social media. This research aims to determine whether different musical preferences affect the learning of basic music theory in junior high school students. This research method uses quantitative research. The result of this study is that there are differences in results between students with different musical preferences. Students with rock music preferences experienced a change in knowledge of musical elements from 10 to 70% and students with pop music preferences from 44 to 67%. Students with rock music preferences experienced bigger and more drastic changes, it was because the population with rock music preferences was less than pop music preferences.
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Kleeman, Janice E., Don J. Hibbard, and Carol Kaleialoha. "The Role of Rock: A Guide to the Social and Political Consequences of Rock Music." Ethnomusicology 30, no. 1 (1986): 165. http://dx.doi.org/10.2307/851846.
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KAWAMOTO, AKITSUGU. "‘Can You Still Keep Your Balance?’: Keith Emerson's anxiety of influence, style change, and the road to prog superstardom." Popular Music 24, no. 2 (May 2005): 223–44. http://dx.doi.org/10.1017/s0261143005000425.
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Harold Bloom's theory of poetic influence has been applied to studies of Western art music, but rarely to studies of popular music. This article investigates the applicability of his theory to the music of British progressive rock keyboardist Keith Emerson. It will be argued that, while Emerson's overtly intertextual music for The Nice cannot be well illuminated with this theory, Bloom can help us explore and interpret some delicate aesthetic aspects of the important style change from The Nice to Emerson, Lake and Palmer (ELP). Emerson felt the anxiety of The Nice's influence upon ELP, changed his style because of it, and led the new group to prog rock superstardom. Bloom's six revisionary ratios can indeed shed light on those subtle qualities which were necessary for a progressive rock ideology to be ‘mainstreamed’ and sold as commodity – qualities that resulted from a process of ‘misreading’.
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Oshio, Atsushi. "THE RELATIONSHIP BETWEEN DICHOTOMOUS THINKING AND MUSIC PREFERENCES AMONG JAPANESE UNDERGRADUATES." Social Behavior and Personality: an international journal 40, no. 4 (May 1, 2012): 567–74. http://dx.doi.org/10.2224/sbp.2012.40.4.567.
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The relationship between dichotomous thinking and music preferences was investigated with a sample of 176 Japanese undergraduates (111 males, 65 females). Participants completed the Dichotomous Thinking Inventory (Oshio, 2009) and the Short Test of Music Preferences (Rentfrow & Gosling, 2003). Individuals who thought dichotomously preferred intense and rebellious, energetic and rhythmic, and fast and contemporary music rather than music that was complex and conventional. Specifically, they most liked rock, alternative, soul, funk, and heavy metal and disliked classical music.