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A History of Rock Music in 500 Songs Vol 1 by ANDREW. HICKEY Pdf
In this series of books, based on the hit podcast A History of Rock Music in 500 Songs, Andrew Hickey analyses the history of rock and roll music, from its origins in swing, Western swing, boogie woogie, and gospel, through to the 1990s, grunge, and Britpop. Looking at five hundred representative songs, he tells the story of the musicians who made those records, the society that produced them, and the music they were making. Volume one looks at fifty songs from the origins of rock and roll, starting in 1938 with Charlie Christian's first recording session, and ending in 1956. Along the way, it looks at Louis Jordan, LaVern Baker, the Ink Spots, Fats Domino, Sister Rosetta Tharpe, Jackie Brenston, Bill Haley, Chuck Berry, Elvis Presley, Little Richard, and many more of the progenitors of rock and roll.
Tom Harrison’s History of Vancouver Rock ’n’ Roll by Tom Harrison Pdf
The history of Vancouver rock 'n' roll is populated by pioneers, visionaries and mavericks. Many of those work(ed) behind the scenes. The musical talent always has always been here, but not the infrastructure (managers, producers, independent labels) needed. While musicians plugged away, learning what they needed to succeed, the support formed. Music and business merged and went out in the world as a symbiotic relationship. There was trial and error but eventually a music industry was created. From The Poppy Family to BTO, Bryan Adams, Sarah McLachlan, Nickelback and Michael Buble - No. 1 stars all - the history of Vancouver rock 'n' roll is their story and the story of countless others.
Without music, the world is just blah. That’s my take on life, anyway. Mum says rock is the only music worth listening to, but I think everyone should find their own beat. When I hear that Principal Keiren plans to cut all of the arts classes at Watterson Primary, there's no way me and my new mate Flynn are gonna let that happen. We're dragging our secret Broadway appreciation society into the spotlight. It's time for Watterson: The Musical!
Pop music and rock music are often treated as separate genres but the distinction has always been blurred. Motti Regev argues that pop-rock is best understood as a single musical form defined by the use of electric and electronic instruments, amplification and related techniques. The history of pop-rock extends from the emergence of rock'n'roll in the 1950s to a variety of contemporary fashions and trends – rock, punk, soul, funk, techno, hip hop, indie, metal, pop and many more. This book offers a highly original account of the emergence of pop-rock music as a global phenomenon in which Anglo-American and many other national and ethnic variants interact in complex ways. Pop-rock is analysed as a prime instance of 'aesthetic cosmopolitanism' – that is, the gradual formation, in late modernity, of world culture as a single interconnected entity in which different social groupings around the world increasingly share common ground in their aesthetic perceptions, expressive forms and cultural practices. Drawing on a wide array of examples, this path-breaking book will be of great interest to students and scholars in cultural sociology, media and cultural studies as well as the study of popular music.
Shake, Rattle and Roll: Yugoslav Rock Music and the Poetics of Social Critique by Dalibor Mišina Pdf
From the late-1970s to the late-1980s rock music in Yugoslavia had an important social and political purpose of providing a popular cultural outlet for the unique forms of socio-cultural critique that engaged with the realities and problems of life in Yugoslav society. The three music movements that emerged in this period - New Wave, New Primitives, and New Partisans - employed the understanding of rock music as the 'music of commitment' (i.e. as socio-cultural praxis premised on committed social engagement) to articulate the critiques of the country's 'new socialist culture', with the purpose of helping to eliminate the disconnect between the ideal and the reality of socialist Yugoslavia. This book offers an analysis of the three music movements and their particular brand of 'poetics of the present' in order to explore the movements' specific forms of socio-cultural engagement with Yugoslavia's 'new socialist culture' and demonstrate that their cultural praxis was oriented towards the goal of realizing the genuine Yugoslav socialist-humanist community 'in the true measure of man'. Thus, the book's principal argument is that the driving force behind the music of commitment was, although critical, a fundamentally constructive disposition towards the progressive ideal of socialist Yugoslavia.
Rock Music, Authority and Western Culture, 1964-1980 by James A. Cosby Pdf
The history of rock and roll music can be seen in a long arc of Western civilization's struggle for both greater individual expression and societal stability. In the 1960s, the West's relationship with authority ruptured, in part due to the rock revolution. The lessons and implications of this era have yet to be fully grasped. This book examines the key artists, music, and events of the classic rock era--defined here as 1964 to 1980--through a virtual psychoanalysis of the West. Over these years, important truths unfold in the stories of British Invaders, hippies, proto-punks, and more, as well as topics to include drugs, primal scream therapy, the occult, spirituality, and disco and its detractors, to name just a few. Through a narrative that is equal parts entertaining, scholarly, and even spiritual, readers will gain a greater appreciation for rock music, better understand the confusing world we live in today, and see how greater individuality and social stability may be better reconciled moving forward.
"There's a moment in Janis Joplin's rendition of "Piece of My Heart" that anyone who has heard the song even once will recall vividly. I'm referring of course to Joplin's explosive cry of "take it!" about a minute in, right at the beginning of the chorus. This moment seems to embody all of rock's essential elements: freedom, power, personal expression, heartache, rebellion, etc. But that moment, iconic as it is, is more than a moment. Its strength is completely lost if we remove it from its musical context. Imagine playing someone just that second or two of music and expecting an emotional reaction you will more likely be met with bewilderment than excitement. The powerful effect of Joplin's cry derives as much from the material surrounding it as from what happens at that particular point in time. To understand that moment we must therefore consider it in relation to the song's organization as a whole. That central question how a song is organized in time underlies the concept of musical form. Form is often presented in opposition to content, the latter referring to more tangible musical elements such as notes and rhythms. The two are not so easily separated, though; as the "Piece of My Heart" example attests, we perceive content through the lens of form, each moment's meaning dependent on its role within the song's temporal organization. Music builds its communicative capacity upon its formal foundation; studying form is thus not a matter of zooming in on one particular musical aspect, but rather sets the stage for understanding all of a song's various expressive elements. Form, in other words, is the gateway to interpretation. This book offers a comprehensive theory of form in rock music. My basic premise is that rock songs are cohesive entities, gradually unfolding through time a unified musical structure. Their formal components are not merely discrete elements arranged in succession but interdependent, dialogic utterances, each fulfilling a particular role in relation to the whole. Seen this way, rock form is inherently a process, an active, temporal journey, not a series of musical containers; "a self-realizing verb, unspooling itself through time, not a static noun," as James Hepokoski and Warren Darcy put it (2006, 616). In other words, form is something a song does, not something it is. A conception of form as process underlies much contemporary discussion of classical form (Schmalfeldt 2011, Hepokoski and Darcy 2006, Caplin 1998); discussions of form in rock, though, tend toward an object-oriented approach, focusing on dividing a song into labeled sections rather than describing its temporal development.1 Rock-oriented studies that reflect a more processual approach, such as Robin Attas's 2015 article on buildup introductions and Allan Moore's 2012 monograph Song Means, generally eschew large-scale thinking in favour of moment-to-moment interpretations; Moore specifically states that he \see[s] little to be gained from [discussing more global formal terms] . . . it implies a `god's-eye perspective,' which does not seem to be part of the popular song experience, where what matters is exactly where one is at a particular point in time" (84). I do not believe a focus on process is incompatible with large-scale thinking, though. My aim in this book is to bring a process-based approach to the study of rock's large-scale structures"--
This volume gathers together twenty articles from among the best scholarly writing on rock music published in academic journals over the past two decades. These diverse essays reflect the wide range of approaches that scholars in various disciplines have applied to the study of rock, from those that address mainly the historical, sociological, cultural and technological factors that gave rise to this music, to those that focus primarily on analysis of the music itself. This collection of articles, some of which are now out of print or otherwise difficult to access, provides an overview of the current state of research in the field of rock music, and includes an introduction which contributes to the ongoing debate over the distinction (or lack thereof) betweenrock andpop.
Popular Music, Gender and Postmodernism by Neil Nehring Pdf
The migration of cynical academic ideas about postmodernism into music journalism are traced in this book. The result of this migration is a widespread fatalism over the ability of the music industry to absorb any expression of defiance in popular music. The book synthesizes a number of fields: American and British academic and journalistic music criticism; aesthetic and literary history and theory from romanticism through postmodernism; alternative music such as feminist punk and grunge; political economy, which has fueled the obsession with commercial incorporation; and subcultural sociology.
Popular Viennese Electronic Music, 1990–2015 by Ewa Mazierska Pdf
The author presents a cultural history of popular Viennese electronic music from 1990 to 2015, from the perspectives of production, scene and national and international reception. To illustrate this history in depth, a number of case studies of the most successful and distinguished musicians are explored, such as Kruder and Dorfmeister, Patrick Pulsinger, Tosca, Electric Indigo and Sofa Surfers. The author draws on research about electronic music, the relationship between music and the urban environment, the history of Austria and Vienna, music scenes and fandom, the digital shift , stardom in popular music (especially electronic music), as well as theories of postmodernism. Chapters 4 and 8 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
Connecting Sociology to Our Lives by Tim Delaney Pdf
Many introductory texts claim to make sociology relevant to student interests. Perhaps no other text has done this so completely - and engagingly - as Connecting Sociology to Our Lives. Tim Delaney not only uses popular and contemporary culture examples, he explains sociology thoroughly within the frame of the contemporary culture of students - a culture shaped by political, economic, and environmental trends just as much as by today's pop stars. This book will help academics to engage their students in sociology through the prism of their own culture. It involves students in critical thinking and classroom discussion through the book's many 'What Do You Think?' inserts, and will inspire them to careers with the book's unique chapter, 'Sociology's Place in Society: Completing the Connection'.
Heavy metal has developed from a British fringe genre of rock music in the late 1960s to a global mass market consumer good in the early twenty-first century. Early proponents of the musical style, such as Black Sabbath, Deep Purple, Judas Priest, Saxon, Uriah Heep and Iron Maiden, were mostly seeking to reach a young male audience. Songs were often filled with violent, sexist and nationalistic themes but were also speaking to the growing sense of deterioration in social and professional life. At the same time, however, heavy metal was seriously indebted to the legacies of blues and classical music as well as to larger literary and cultural themes. The genre also produced mythological concept albums and rewritings of classical poems. In other words, heavy metal tried from the beginning to locate itself in a liminal space between pedestrian mass culture and a rather elitist adherence to complexity and musical craftsmanship, speaking from a subaltern position against the hegemonic discourse. This collection of essays provides a comprehensive and multi-disciplinary look at British heavy metal from its beginning through The New Wave of British Heavy Metal up to the increasing internationalization and widespread acceptance in the late 1980s. The individual chapter authors approach British heavy metal from a textual perspective, providing critical analyses of the politics and ideology behind the lyrics, images and performances. Rather than focus on individual bands or songs, the essays collected here argue with the larger system of heavy metal music in mind, providing comprehensive analyses that relate directly to the larger context of British life and culture. The wide range of approaches should provide readers from various disciplines with new and original ideas about the study of this phenomenon of popular culture.
Author : Richard J. Wallace,James V. Wallace Publisher : Simon and Schuster Page : 280 pages File Size : 49,6 Mb Release : 2010-09-18 Category : Reference ISBN : 9781440508882
The Lazy Intellectual by Richard J. Wallace,James V. Wallace Pdf
It's a small attention span world out there, and not everyone's interested in paging through lengthy tomes to deepen their intellect. They want their information. And they want it now. This book fills that void next to the recliner as the go-to reference whenever work conversations or bar trivia have you feeling stupid. The top ten academic subjects are broken into digestible pieces such as: Fast Facts: One-liners that delivers important information Repeatable Quotables: Smart words by smart people to make readers look smart by repeating Visual Aids: Graphs, charts, and tables for when even a few words are way too much Cheat Sheets: Chapter-ending recaps that reinforce the major points to take away Whether they want an answer to a biology question, or to brush up on their Spanish during a commercial break, this book is perfect for people who couldn't bother paying attention the first time.
The Rock Music Imagination by Robert McParland Pdf
The Rock Music Imagination explores creativity in classic rock, its roots in the blues, and its wide cultural impact. The romantic strains of rock imagination are examined in the songs of popular rock bands, the sixties counterculture, science fiction, the rock music novel, and rock’s attention to human rights in the global community.