Academic literature on the topic 'Social aspects of Rock music'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Social aspects of Rock music.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Social aspects of Rock music"
1
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.
Full textAbstract:
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.
2
Temperley, David. "Syncopation in rock: a perceptual perspective." Popular Music 18, no. 1 (January 1999): 19–40. http://dx.doi.org/10.1017/s0261143000008710.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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).
6
Trudzik, Artur Mariusz. "Wielowarstwowość pokładów muzyki hardrockowej/heavymetalowej w zasobach „Tylko Rocka”." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 3, no. 10 (2018): 165–75. http://dx.doi.org/10.24917/20837275.10.3.14.
Full textAbstract:
Multilayering hardrock/heavymetal music in „Only Rock” resources This article is composed of two parts. The first discusses the role of metal hardrock music (broadly understood) in the structure of the most opinion-making music magazine after 1989, ie „Only Rock”, and in the second study focused on analyzing the content of the monthly magazine in terms of title genres, but in the optics of genology. The text uses existing statistical data, studies and, of course, source materials. Methodologically and substantively – in a narrower sense, the publication encompasses two new streams: Metal Music Studies (humanistic) and Journalism and Music Media (social sciences, media studies), and in broader terms quantitative and qualitative research (including structural analysis). The research showed that metal music was a constitutive aspect of the subject matter in a strictly formal rock writing, and even some of the leading elements.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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
Dissertations / Theses on the topic "Social aspects of Rock music"
1
Berkland, Darren Gary. "Androcentrism and misogyny in late twentieth century rock music." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1021199.
Full textAbstract:
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.
2
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.
Full text
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
Shadrack, Jasmine Hazel. "Denigrata cervorum : interpretive performance autoethnography and female black metal performance." Thesis, University of Northampton, 2017. http://nectar.northampton.ac.uk/9679/.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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 "Social aspects of Rock music"
1
Wicke, Peter. Rock music: Culture, aesthetics and sociology. Cambridge: Cambridge University Press, 1990.
Find full text
4
Szatmary, David P. A time to rock: A social history of rock and roll. New York: Schirmer Books, 1996.
Find full text
5
Szatmary, David P. A time to rock: A social history of rock and roll. New York: Schirmer Books, 1996.
Find full text
6
This is rebel music: The Harvey Kubernik innerviews. Albuquerque: University of New Mexico Press, 2003.
Find full text
7
1947-, Bennett Tony, ed. Rock and popular music: Politics, policies, institutions. London: Routledge, 1993.
Find full text
8
Wicke, Peter. Rock music: Culture, aesthetics, and sociology. Cambridge: Cambridge University Press, 1995.
Find full text
9
Rock music: Culture, aesthetics, and sociology. Cambridge: Cambridge University Press, 1990.
Find full text
10
Wicke, Peter. Rock music: Culture, aesthetics and sociology. Cambridge: Cambridge University Press, 1987.
Find full textBook chapters on the topic "Social aspects of Rock music"
1
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.
Full text
2
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.
Full text
3
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.
Full textAbstract:
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.
4
Goodyer, Ian. "Rock Against Racism, culture and social struggle." In Crisis music. Manchester University Press, 2013. http://dx.doi.org/10.7765/9781847793003.00013.
Full text
5
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 text
6
Erlmann, V. "Music: Anthropological Aspects." In International Encyclopedia of the Social & Behavioral Sciences, 10251–55. Elsevier, 2001. http://dx.doi.org/10.1016/b0-08-043076-7/00918-9.
Full text
7
"Social Commentary." In Rock Music in American Popular Culture III, 255–78. Routledge, 2014. http://dx.doi.org/10.4324/9781315865409-22.
Full text
8
"‘Revolution’: Social change, conscience rock, and identity politics." In Understanding Popular Music Culture, 219–37. Routledge, 2016. http://dx.doi.org/10.4324/9781315694870-20.
Full text
9
"‘Revolution’: Social change, conscience rock and identity politics." In Understanding Popular Music Culture, 195–210. Routledge, 2012. http://dx.doi.org/10.4324/9780203094358-19.
Full text
10
"Too Posh to Rock? The Exposure of Social Class in Popular Music." In Popular Music Matters, 27–46. Routledge, 2016. http://dx.doi.org/10.4324/9781315601434-7.
Full textConference papers on the topic "Social aspects of Rock music"
1
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.
Full text
2
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.
Full text
3
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.
Full text
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
Tanasković, Marija K. "Učenje kroz pokret u pristupima muzičkom obrazovanju." In Nauka i obrazovanje – izazovi i perspektive. University of Kragujevac, Faculty of Edaucatin in Uzice, 2022. http://dx.doi.org/10.46793/noip.403t.
Full textAbstract:
The movement is related to dance and play, and it is significant for the musical development of an individual and his/her perception of music. Some research results show that learning through movement is familiar to children and can contribute to their development in many aspects (musicality, creativity, but also to their cognitive, social and physical development). Some approaches to music education focusing on the child, which is an imperative of modern upbringing and education, emphasize the importance of understanding the content of learning through sensory perception and practical activities. Music is associated with speech, movement and play, as these elements coexist in children. The paper gives an overview of approaches and methods (Dalcroze, Orff, Kodaly, Gordon) in music education in which movement has a dominant role and significance, as it activates not only the body and the mind, but also encourages the perception of music and its means of expression.
7
Palacios, Fernando. "Breath: Reciprocities Without Words. Music, sound and videoart as communication paths on migration processes." In II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio. Valencia: Universitat Politàcnica de València, 2021. http://dx.doi.org/10.4995/eshid2021.2021.13207.
Full textAbstract:
Breath was created during a research stay at Social Sciences department in Roskilde University in Denmark. The challenge was to find ways to disseminate knowledge through artistic resources in a research project under migration topic.European socio-cultural contexts nowadays are established as landscapes of diversity, platforms of social interaction where the confluence of perspectives of diverse cultures are gradually modified, giving rise to new expressive parameters of social groups. This environment allows a dialogue between different cultural musical manifestations and the approaches to the sound phenomenon that each one establishes. These cultural platforms are laboratories par excellence of the transculturation as a place where the exchange of musical identities is more easily produced. They accept (or should accept) diversity not as exoticism or threatening otherness but as a possibility of one's own identity.Under these circumstances, music plays a definitive and fundamental role constituting a purposeful and peaceful way of interaction between different cultural groups. Furthermore, music allows the development of a dialogue in the rethinking process of the collective, related to the individual.Breath is an approach to music in a social perspective, connecting people from different genders, generations and cultures that didn´t know each other before. Together we created a communication path without words, where breath is the guideline for the improvised music. We were all synchronized in a co-creative work. The photos and drawings that appears on the video where chosen and made by the participants afterwards, reflecting what they felt during the experience. Besides, Breath is an interactive work that invites you to participate in it with your own breath. Through a video installation, Breath pretends to arouse our empathy towards an understanding of the other. It aims to visualize our common aspects as humans and living beings, focusing on an existing and basic one: breathing reciprocity.
8
Belyaeva, Ekaterina. "AXIOLOGICAL ASPECTS OF THE SOCIO-CULTURAL INTERACTION OF RUSSIAN AND CHINESE STUDENTS IN THE EDUCATIONAL SPACE OF THE RUSSIAN UNIVERSITIES." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2018. http://dx.doi.org/10.32008/nordsci2019/b1/v2/24.
Full textAbstract:
The development of cultural ties and cooperation between Russia and China in the field of education correlates with the current strategy of internationalization of Russian universities. Many Russian universities today tend to develop partnerships with Chinese universities. In particular, the number of Chinese students studying in Russian universities constantly increases; academic exchange programs are successfully implemented, the number of scientific contacts between representatives of universities of the two countries grows. The implementation of such cooperation is accompanied by problems of social and cultural interaction in the field of education of Russian and Chinese students. The general purpose of the study was to identify the axiological component in the interaction of Russian and Chinese students in the space of the Russian university. Chinese students who study in Yekaterinburg universities (390 people), Russian students who study/live with Chinese (500 people), 10 Chinese experts, 10 Russian experts in the field of education in Russia and China were interviewed. The results suggest that the Russian students find the values of hedonistic nature – love and pleasure – to be more important than the Chinese ones, while the Chinese students consider study and personal security to be most important (and this is determined by the goals of coming to Russia and the conditions of staying in the territory of a foreign country). Nevertheless, it cannot be said that the values of students from the Russian Federation and the People’s Republic of China differ radically and may interfere with the productive socio-cultural interaction between them. Besides, the great importance of such values as world peace and love of country for Chinese students can be the basis for attracting them to participate in the activities of patriotic and cultural student associations that already exist in the Ural universities. The practical significance of the results obtained is that the identified problems of socio-cultural interaction between Chinese and Russian students make it possible to develop technologies for optimizing the socio-cultural interaction of foreign students in Russian universities, which is especially important in the initial stages of their education in Russia. Among the recommendations for optimizing the process of entering Chinese students into Russian universities (in addition to Russian language classes) are joint Russian-Chinese leisure and holiday events, joint social student associations (volunteering, tourism, music, etc.), excursion programs aimed at acquaintance with the culture of the host country, the joint interaction of Russian and Chinese students in social networks and messenger apps.
9
Huber, Annegret. "Die Pianistin spricht. Überlegungen zur Epistemologie von Vertonungsanalysen und ihrer Funktion in musikwissenschaftlicher Forschung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.83.
Full textAbstract:
There is nothing fundamentally wrong with the premise that a pianist like Clara Wieck/Schumann ‘speaks’ in her song compositions. This, however, raises a number of epistemological questions that will be discussed in this article. First of all, an explicit distinction is made between the examination of the ‘technical’ aspects of her compositional practice – in German: Praktik – (which may allow conclusions to be drawn about the pianist’s implicit knowledge) on the one hand, and the social aspects of her discursive practice – in German: Praxis – on the other. Thus, it is also necessary to discuss the criteria that the structural-analytical methodology must satisfy, as well as to consider to whom the pianist is actually speaking: to us music researchers of the 21st century? Or should we ask ourselves whether our analysis is not rather a “reading of traces” in the sense of Sybille Krämer, through which we invent the ‘producer’ of the analyzed ‘trace’ in the first place? Or to put it another way epistemologically: how do we make the pianist speak? What function does our ‘speaking’ of her compositions – namely the piano parts in her songs – have in scholarly argumentations?
10
Syed, Ibrahim, Jason Fick, Brian Zhang, and Naomi Fitter. "Toward Generative Sound Cues for Robots Using Emotive Musification." In ICAD 2022: The 27th International Conference on Auditory Display. icad.org: International Community for Auditory Display, 2022. http://dx.doi.org/10.21785/icad2022.029.
Full textAbstract:
Sound is an essential yet under-studied way for robots to communicate with humans. When designed well, robot sound can improve aspects of human-robot interaction from social perception to team fluency, but at its worst, robot sound can discourage use of robots altogether. Thus, sound cues must be carefully and intentionally designed. To address this need, we present a system that uses the inherent emotional connotations of musical qualities to dynamically generate emotive sound for robots. Our application utilizes real-time modification of tempo, pitch, scale, and sound brightness to algorithmically generate melodic phrases intended to evoke specific moods or feelings in human listeners. An in-the-wild exploratory study with N = 26 participants demonstrated that our generative sounds caused human listeners to perceive the robot as happier and warmer. This effort is a first step toward a planned full system that will democratize the design of music-based emotional communication in human-robot interaction.
Reports on the topic "Social aspects of Rock music"
1
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.
Full textAbstract:
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.