Academic literature on the topic 'Folk-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 'Folk-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 "Folk-rock music"
1
Weston, Donna. "Transforming Folk. Innovation and Tradition in English Folk-Rock Music." Musicology Australia 36, no. 1 (January 2, 2014): 151–53. http://dx.doi.org/10.1080/08145857.2014.911064.
Full text
2
Carter, James. "Campus Rock." Journal of Popular Music Studies 32, no. 3 (August 27, 2020): 51–72. http://dx.doi.org/10.1525/jpms.2020.32.3.51.
Full textAbstract:
During 1967-8, The Lovin’ Spoonful, The Animals, The Who, Richie Havens, Jefferson Airplane and the Iron Butterfly, performed in the gymnasium at the small, liberal arts Drew University in suburban New Jersey. Turns out, this experience was not unique to Drew. College campuses across the country were essential for the growth of popular music, and of rock music in particular in the mid- to late-sixties. The music industry took notice as booking agents, record shops, pop music promoters, radio stations, and industry magazines and newspapers all began to place more emphasis on the opportunities provided by the nation’s colleges. While we know a great deal about activism on college campuses during the sixties, we know little about that same environment and its relationship to the growth and development of rock culture. This essay will explore the relationship between the growth of rock culture, the college campus, and the broader sixties experience. The college campus proved crucial in the development of rock music as student tastes determined “rock culture.” Folk, pop, soul/R&B, folk rock, hard rock, and psychedelic/acid rock, thrived simultaneously on the college campus from 1967 to 1970, precisely the period of significant change in popular music.
3
Carter, James. "Campus Rock." Journal of Popular Music Studies 32, no. 3 (August 26, 2020): 51–72. http://dx.doi.org/10.1525/jpms.2020.323006.
Full textAbstract:
During 1967-8, The Lovin’ Spoonful, The Animals, The Who, Richie Havens, Jefferson Airplane and the Iron Butterfly, performed in the gymnasium at the small, liberal arts Drew University in suburban New Jersey. Turns out, this experience was not unique to Drew. College campuses across the country were essential for the growth of popular music, and of rock music in particular in the mid- to late-sixties. The music industry took notice as booking agents, record shops, pop music promoters, radio stations, and industry magazines and newspapers all began to place more emphasis on the opportunities provided by the nation’s colleges. While we know a great deal about activism on college campuses during the sixties, we know little about that same environment and its relationship to the growth and development of rock culture. This essay will explore the relationship between the growth of rock culture, the college campus, and the broader sixties experience. The college campus proved crucial in the development of rock music as student tastes determined “rock culture.” Folk, pop, soul/R&B, folk rock, hard rock, and psychedelic/acid rock, thrived simultaneously on the college campus from 1967 to 1970, precisely the period of significant change in popular music.
4
Zhivitsa, A. R. "MODERN TRENDS OF ETHNIC MUSIC." Arts education and science 1, no. 30 (2022): 172–79. http://dx.doi.org/10.36871/hon.202201020.
Full textAbstract:
Modern ethnic music, represented by a wide palette of styles and trends, is an interesting global musical phenomenon, based on the actualization of national musical traditions and building intercultural dialogue. In this article, we clarify the terminological apparatus and conceptual environment of ethnic music, which in Russian realities is understood as a part of contemporary culture that combines traditional music and folk music, as well as consider the socio-cultural prerequisites for the emergence of this phenomenon and the main tendencies of ethnic music. Born as a youth folklore movement, based on a search for new sources of inspiration for young musicians and composers, today the phenomenon of ethnic music presents a rich palette in contemporary music space. These directions, formed by merging elements of different national musical traditions, synthesizing different musical styles or combining different methods, have at their core the main component — traditional musical folklore, which is embodied in new modern forms, reinterpreted and interpreted by ethnic musicians. Thus, a rich corpus of folk music culture is preserved and actualized. Among the main directions of ethnic music, we distinguish: musical folklore; folk music; ethno-fusion; new age; ethno-jazz; ethno-electronics, including folk-rock, pop-folk, folk-house and other movements based on the synthesis of musical folklore and current musical styles.
5
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.
Full textAbstract:
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.
6
Liang, Yuyi. "A Study on the Singing Forms of Western Rock Music Integrating Classical Cultural Elements." Advances in Humanities Research 6, no. 1 (May 28, 2024): 5–8. http://dx.doi.org/10.54254/2753-7080/6/2024056.
Full textAbstract:
Rock and roll is not only a form of music, but also a "attitude and philosophy of life". It is precisely because of this that rock and roll is different from general pop music, and there are various differences between Chinese and Western rock and roll. Rock music has many branches and complex forms. Its main styles include folk rock, art rock, psychedelic rock, Country rock, heavy metal, punk, etc. This article studies the singing forms of Western rock music that integrate classical cultural elements. People who listen to classical music "despise" the "vulgarity" of rock and roll, and people who play rock and roll "dislike" the "affectation" of classical music. These two music styles, which seem to never blend together, always maintain a proud attitude of respecting each other in their respective music culture circles. The extensive use of words with classical cultural elements and cultural imagery in rock music works can allow viewers to develop a sense of closeness and identification with the national essence reflected in the work from an aesthetic psychological perspective, and have a deeper understanding of the ideas expressed in the work.
7
Redhead, Steve, and John Street. "Have I the right? Legitimacy, authenticity and community in folk's politics." Popular Music 8, no. 2 (May 1989): 177–84. http://dx.doi.org/10.1017/s0261143000003366.
Full textAbstract:
In the last few years, in Britain, one of pop's cycles has turned again and folk has come back into fashion. It can be seen in the success of the Pogues, in the reformation of Fairport Convention, in the revamping of the magazine Folk Roots, in the content of Andy Kershaw's Radio One show, and perhaps most dramatically in the celebration of ‘world music’. The revival of folk entails more than a revival of old names and sounds, it also contains a redefinition of the idea of ‘folk’ itself. This shift takes its clearest form in Folk Roots where the editor, Ian Anderson, displays equal enthusiasm for examples of almost every musical genre, from country to pop to ‘world music’ to traditional folk to soul to ‘roots rock’ (Ry Cooder, The Bhundu Boys, Kathryn Tickell, Paul Simon and the Voix Bulgares are all included). Folk no longer means ‘beards and Fair Isle jumpers’; it includes punk-influenced groups like the Mekons who see folk as an approach in which ‘the ineptitude of the playing becomes stylised and eventually becomes part of the music’ (Hurst 1986, p. 17). The musical eclecticism is linked by an underlying theory of the way good music is identified.
8
Larkey, Edward. "Austropop: popular music and national identity in Austria." Popular Music 11, no. 2 (May 1992): 151–85. http://dx.doi.org/10.1017/s0261143000004980.
Full textAbstract:
The diffusion of rock and popular music from the US and British mass entertainment industries since the 1950s has had a profound impact on the music traditions world-wide. Several generations of youth have been socialised to the musical accompaniment of rock and roll music of the 1950s, the ‘beat music’ of the 1960s, the so-called ‘psychedelic’ or ‘underground’ rock music of the 1970s, disco, punk and new wave music in the 1970s and 1980s. It has resulted in the transplantation of these ‘foreign’ styles into music cultures with small groups of fan communities for rock and roll, country and western, blues, punk, reggae and others which were previously unheard of there before their introduction. In addition, domestic traditions have been profoundly affected by the diffusion of these new music styles and have integrated some of their musical, technical and other components into their own repertoires. The Schlager music in the German-speaking countries has been one of the most prominent in this respect, adapting syncopated rhythm but modifying its harmonic attributes in order to maintain its own prominence and cultural legitimacy in the music culture. Even the volkstümliche or folk-like music, a commercialised genre of traditional folk music, has undergone changes as a result of the diffusion of the newer forms of popular music. A third type of impact upon music tradition is that of ‘transnational’ or ‘transcultural’ styles. When imported musical and cultural innovations are mixed with domestic styles and traditions, these new styles and conventions are ultimately created. These, in turn, form a primary thrust in the cultivation and development of innovations in musical traditions, which eventually evolve into changes in the cultural identity of the particular country.
9
Dorobek, Andrzej. "Nie tylko folkowa osobność Berta Janscha." Przegląd Kulturoznawczy, no. 3 (57) (October 2023): 325–35. http://dx.doi.org/10.4467/20843860pk.23.023.18581.
Full textAbstract:
In this text, we attempt, probably for the first time in Poland, at the synthetic presentation of the artistic achievements and not only creative personality of Bert Jansch, sometimes referred to as “British Dylan” and highly appreciated by fellow folk musicians as well as by genuine rock stars, such as Jimmy Page or Neil Young. Jansch’s career as a truly unique folk singer/guitar player/composer/lyric writer shall be dicussed here in a wider analytical perspective, with vital references to the history of the British and American folk movement as well as, first of all, to the career of his transatlantic “counterpart”. Jansch’s inability to comfortably fit into any folk or folk-rock stereotypes with respect to music, lyrics or media personality shall also be stressed, in the same comparative context.
10
Heinonen, Yrjö. "Finno-Ugric Rune Song Tradition Revisited: A Critical Discourse Analysis of Värttinä's "Äijö"." Articles 25, no. 1-2 (December 17, 2012): 138–70. http://dx.doi.org/10.7202/1013309ar.
Full textAbstract:
Contemporary Finnish folk music, unlike internationally successful contemporary Finnish rock (HIM, Nightwish, The Rasmus), transmits Finnish and Finno-Ugric tradition in a reinterpreted form to international audiences. This article explores this transmission through a case analysis of Äijö, a song by Värttinä, "the brand name" of Finnish World Music. Critical Discourse Analysis (CDA) provides a unified framework, which allows for tan examination of how different folk music traditions and the practices of Western popular music have been used in Äijö. The data with which this research was undertaken consists of publicly available media texts representing different stages of the production, distribution and consumption of Äijö.
Dissertations / Theses on the topic "Folk-rock music"
1
Burns, Robert, and n/a. "Transforming folk : innovation and tradition in English folk-rock music." University of Otago. Department of Music, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080701.132922.
Full textAbstract:
From a mixed methodology perspective that includes ethnology, musicology and cultural anthropology, I argue that, despite initial detachment from folk revivalism, English folk-rock has moved closer to aspects of tradition and historical status and has embraced a revivalist stance similar to that of the folk revivals that occurred earlier in the twentieth century. Whereas revivalism often rejects manifestations of mass culture and modernity, I also argue that the early combinations of folk music and rock music demonstrated that aspects of preservation and commercialisation have always co-existed within this hybrid musical style. English folk-rock, a former progressive rock music style, has emerged in the post-punk era as a world music style that appeals to a broad spectrum of music fans and this audience does not regard issues such as maintenance of authenticity and tradition as key factors in the preservation process.
Rock music has remained a stimulus for further change in folk music and has enabled English folk-rock to become regarded as popular music by a new audience with diverse musical tastes. When folk music was adapted into rock settings, the result represented a particular identity for folk music at that time. In a similar way, as folk music continues to be amalgamated with rock and other popular music styles, or is performed in musical settings representing new cultures and ethnicities now present in the United Kingdom, it becomes updated and relevant to new audiences. From this perspective, I propose that growth in the popularity of British folk music since the early 1970s can be linked to its performance as English folk-rock, to its connections with culture and music industry marketing and promotion techniques, and to its inclusion as a 1990s festival component presented to audiences as part of what is promoted as world music. Popularity of folk music presented at world music festivals has stimulated significant growth in folk music audiences since the mid-1990s and consequently the UK is experiencing a new phase of revivalism - the third folk revival.
2
Wyatt, Corwyn Thomas. "Medievalism in German folk rock: Mittelalter's wild imagining of the Middle Ages." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21280.
Full textAbstract:
Thesis (M.M.)This thesis explores the role played by medieval images, music, and poetry in the Mittelalter movement of German folk rock in order to uncover its ideological underpinnings and comment on its artistic and social value. This is achieved through analysis of select recordings, music videos, and interviews with Mittelalter artists, as well as "digital ethnography" carried out on fan forums dedicated to Mittelalter bands. It is determined that the movement as a whole has a strong liberal bias and is less concerned with portraying historical accuracy than it is in championing individual freedom, growth, and tolerance. This thesis concludes that its artistic value varies widely but that its great value lies in the culture of collaborative creativity it fosters.
3
Encarnacao, John. "Punk aesthetics in independent "new folk", 1990-2008." Electronic version, 2009. http://hdl.handle.net/2100/981.
Full textAbstract:
Various commentators on punk (e.g. Laing 1985, Frith 1986, Goshert 2000, Reynolds 2005, Webb 2007) have remarked upon an essence or attitude which is much more central to it than any aspects of musical style. Through the analysis of specific recordings as texts, this study aims to deliver on this idea by suggesting that there is an entire generation of musicians working in the independent sphere creating music that combines resonances of folk music with demonstrable punk aesthetics. Given that the cultural formations of folk and punk share many rhetorics of authenticity – inclusivity, community, anti-establishment ideals and, to paraphrase Bannister (2006: xxvi) ‘technological dystopianism’ – it is perhaps not surprising that some successors of punk and hardcore, particularly in the U.S., would turn to folk after the commercialisation of grunge in the early 1990s. But beyond this, a historical survey of the roots of new folk leads us to the conclusion that the desire for spontaneity rather than perfection, for recorded artefacts which affirm music as a participatory process rather than a product to be consumed, is at least as old as recording technology itself. The ‘new folk’ of the last two decades often mythologises a pre-industrial past, even as it draws upon comparatively recent oppositional approaches to the recording as artefact that range from those of Bob Dylan to obscure outsider artists and lo-fi indie rockers. This study offers a survey of new folk which is overdue – to date, new folk has been virtually ignored by the academic literature. It considers the tangled lineages that inform this indie genre, in the process suggesting new aspects of the history of rock music which stretch all the way back to Depression-era recordings in the shape of Harry Smith’s Anthology of American Folk Music. At the same time, it attempts to steer a middle course between cultural studies approaches to popular music which at times fail to directly address music at all, and musicological approaches which are at times in danger of abstracting minutae until the broader frame is completely lost. By concentrating on three aspects of the recordings in question - vocal approach, a broad consideration of sound (inclusive of production values and timbre), and structure as it pertains to both individual pieces and albums – this work hopes to offer a fresh way of reading popular music texts which deals specifically with the music without losing sight of its broader function and context.
4
McLaughlin, Noel. "Pop and the periphery : nationality, culture and Irish popular music." Thesis, Ulster University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326322.
Full textAbstract:
This thesis seeks to consider the relationship between 'rock' and 'Irishness' • between transnational pop and the nation-state • challenging the 'orthodox' view that Irish rock embodies uniquely Irish characteristics. It is about Irish popular music and identity and is primarily concerned with the relationship between culture and meaning. It argues that the study of popular music as 'text' is important to the more general study of culture (even though the notion of text in popular music is problematic). The thesis seeks to explore how meaning is made in popular music culture across a shifting and unstable textual matrix. Authenticity is a central concept here and I examine discourses of Irish authenticity and essentialism and their relationship to authenticity in rock. The study of Irish rock is, I argue, important to wider debates about identity and globalisation, especially in debates about the relationship between national music cultures and an increasingly globalised market. I undertake an exploration of the concept of cultural hybridity and assess both its strengths and its limitations to tbe study of popular music and debates about national identity. Hybridity, I argue, is important in that it helps break down the essentialising force of both the main discourses of authenticity outlined, becoming useful in moving beyond discourses of cultural purity. Howeve~ hybridity discourse also has problems and frequently there is a Jack of discrimination between different types of hybrid text which may result ina simple celebration of hybrids and hybridity. Thus, the complex relationship between popular music, the articulation of identity in pop songs (and across pop's mobile textuality) and in discourse about pop is overlooked. In this way, the thesis argues that the study of popular music culture in specific contexts may reveal the limitations of existing cultural studies work on hybridity, textuality and meaning. This is part of a broader project of arguing for more detailed consideration of music, meaning and pleasure in regional and peripheral national contexts.
5
Tang, Kai. "Musical Culture of Chinese Floaters." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13094351.
Full textAbstract:
"Floaters" are a large population of internal migrants in China. Led by a series of urban-based economic policies and the consequent income gap between rural and urban regions, these former peasants left their hometowns, floating temporarily and illegally in the cities for economic opportunities. Without legal immigration status, they are marginalized by local urbanites and are considered by the government as disobedient citizens with the potential to jeopardize the socialist society.
This dissertation, drawing on two years' ethnographic and archival research in China, examines the basic characteristics of floaters' musical world and focuses on three representative musical components. The first is a repertory called Sour Songs, which originates from floaters' rural hometowns and serves as an outlet for release of nostalgia and spiritual pain. The second, Red Songs, is a genre invented by the communist government that has become an effective propaganda tool and is characterized as "a powerful bolt of the revolutionary machine" in the floaters' world. Finally, Rock 'n' Roll, the only musical form in China that signifies both urbanity and revolt, is used by floaters to display their special identity and to express themselves when they are silenced in the broader society. This dissertation reveals hidden meanings in floaters' music-making and suggests that the study of this overlooked musical community could provide new perspectives on Chinese music at large.Music
6
MacDonald, Jennifer Marie. ""Devil on the fiddle" : the musical and social ramifications of genre transformation in Cape Breton music." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99381.
Full textAbstract:
In 1995, fiddler Ashley MacIsaac released the album Hi, How Are You Today? that featured MacIsaac performing traditional Celtic tunes accompanied by modern rock instruments. The musical genre transformation on the album (notable because people who were not fans of Celtic music bought this album, tracks were released for airplay, and music videos accompanied the singles) can be studied according to the types of genre transformation outlined by Alastair Fowler in Kinds of Literature. If MacIsaac's goal was to offer a popular rock album while playing traditional tunes on the fiddle, critics and members of his audience inevitably questioned his motivation, from which charges of pandering and exploitation followed. Alternate interpretations stressed that MacIsaac was merely adapting traditional music to reflect a changing musical climate. This thesis examines such perspectives, along with the global phenomenon of modernizing folk music amidst the ambiguous boundary between popular and folk musical genres.
7
Bonnot, Charles. "Le discours des documentaires musicaux : de Robert Johnson à LCD Soudsystem." Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC316.
Full textAbstract:
Cette thèse est une étude linguistique et discursive d'un corpus constitué de longs métrages documentaires consacrés à la musique populaire anglophone au 20ème siècle : rock, folk, blues punk, électro. Nous proposons en premier lieu une description des films du corpus tenant compte de critères formels, discursifs et narratifs. Nous voyons notamment de quelle façon le montage permet une articulation entre micro et macro-discours, ainsi que la création de pseudo-dialogues et d'une chaîne anaphorique plurisémiotique. Nous observons également un certain nombre de traits narratifs récurrents au sein des micro-récits comme des macro-récits et postulons qu'ils participent à l'expression de normes propres à la culture rock. La deuxième partie de cette étude est fondée sur la recherche de traces linguistiques de l'insoumission généralement prêtée au rock. Nous constatons grâce à une analyse textométrique une certaine plasticité du tabou langagier qui s'explique par les environnements dans lesquels apparaissent les mots grossiers. D'autre part, le corpus contient un grand nombre de transgressions interactionnelles révélatrices de la manière dont cette rébellion supposée innée est construite et gérée au sein du discours médiatique. Enfin la troisième partie de cette étude est consacrée aux contre-discours produits dans et par les documentaires musicaux, lesquels ont notamment pour but de corriger un discours doxique jugé fautif, de souligner de façon réflexive les limites du langage ou du discours artistique médiatique ou encore de valoriser l'indicible et des moyens d'expression alternatifs, ce que nous nommons la logophobieThis thesis is a linguistic and discursive study of documentaries on 20th century popular music in English-speaking countries: rock music, folk, blues, punk and electro. We first suggest a description of the corpus based on formal, discursive and narrative criteria. We see how editing allows an articulation of micro and macro-discourses as well as the creation of pseudo-dialogues and of a plurisemiotic anaphoric chain. We also notice certain patterns among micro-stories and macro-stories, which we believe are the expression of specific cultural norms. The second part of this study in based on the research of linguistic expressions of rock's supposedly innate rebellion. Corpus analysis shows the plasticity of linguistic taboo and of the use of swearwords, depending on the environment in which they appear. Besides, the corpus contains an important number of interactional transgressions that show how rock's rebellion is actually built and dealt with in media discourse. The third part of this study deals with the counter-discourses that are produced within and by music documentaries. These discourses aim at correcting a faulty doxa, they reflectively question the limits of speech and discourse, whether in songs or in the media, and tend to valu the unsa yable as well as alternative means of expression what we refer to as logophobia
8
XIONG, XIN-YUAN, and 熊信淵. "Hit, Rock to Folk: Youth Music World in Taiwan (1950’s-1970’s)." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/hfvffh.
Full textAbstract:
碩士國立臺灣大學
台灣文學研究所
105
There are abundant of works of culture phenomenon of Taiwan music analysis. However, there are still some gaps between the phenomena. This essay tries to connect the gaps－from the appearance of hit music to the end of folk movement, the 25 years manifests the process of the acceptance and localization of rock music. The essay focuses on how did different generations of youth develop new identification of music, and how did styles change by continuing struggles. Besides, the writing skill tends to be chronicled: the story line is composed of the main characters of music communities and their activities. With the progress, the context such as the development of music industry and political change would be completed. During the middle of 1950’s, a closed environment of martial law period, the western hit songs developed quickly in the name of “hit music” by the supporting of young mainlanders and the shielding of authority groups. Meanwhile, the rock music entered and experienced 3 times of changes in the 50’s - 70’s. However, the hit music that was mainly supported by the youth could not officially enter the music industry, and joined the new entertainment arena such as night clubs in the middle of 60’s. But it leaded to a deterioration of social perception to hit music. In the beginning of 70’s, the youth started to use “rock music” to call their beloved American folks. The youth who embraced a dream of change the dispirited atmosphere of Taiwan music absorbed the nutrient of rock music, drove different areas of society to start the folk movement in the middle of 70’s. Nevertheless, the movement could not expand more because the government’s suspicion that the youth autonomy was rising up. And the rude political examination and intervention extinguished the fire of the dream of the youth finally.
9
Makovcová, Demartini Lenka. "Biblické motivy v textech české pop music 60. a 70. let dvacátého století." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-324580.
Full textAbstract:
The thesis "Biblical motifs in Czech pop music of the 1960s and the 1970s of the twentieth century: The function and using of biblical motifs for pop music lyrics with the original biblical background and message" introduces the academic framework of the topic within the first chapter: the definition of the terms, the criteria and method for selecting the motifs and lyrics used. Then, the position of Czech pop music in the cultural and political context of the period is explained, which is a relevant part of the topic itself. Also an outline of the academic reflection of the related topic is referred to as well as the function of biblical motifs in other styles of music (rock, folk and underground music) with the emphasis on the projection of the stylistic differences into using these topics for the lyrics. The following four chapters are probes into the pop music and biblical motifs issue.They are meant as the reflection of the the inner dynamics of the genre as well: in the second and third chapters the selected biblical motifs (general motifs, prayers, biblicisms and biblical characters) are enlisted and the anylysis of their funcion and using for various lyrics is provided in comparison with their biblical message and introducing the original loci in the B ible. The fourth chapter is focused on...
10
Dalby, Susan E. "Electric, eclectic, Canadian: issues of genre and identity in the music of the Guess Who." Thesis, 2009. http://hdl.handle.net/1828/1751.
Full textAbstract:
Conducting musical analyses over three case studies, Electric, Eclectic, Canadian: Issues of Genre and Identity in the Music of the Guess Who considers issues of genre, culture, and identity in the music of Canadian rock band the Guess Who. The first case study discusses soft rock transformations in the songs “These Eyes” (1968), “Laughing” (1969), and “Undun” (1969). The second case study examines changes in audience identification with the song “American Woman” (1970), performing comparative analyses of the Guess Who original release to Lenny Kravitz’s version (1999). The final case study discusses ideas of authenticity in the folk rock-inspired protest songs “Hand Me Down World” (1970), “Share the Land” (1970), and “Guns, Guns, Guns” (1972), comparing them to the iconic songs “For What It’s Worth” (Buffalo Springfield, 1967), “Big Yellow Taxi” (1970), “Ohio” (Neil Young, 1970 and “Southern Man” (Young, 1970). The conclusions summarise various musical and socio-political aspects of the Guess Who’s output and places it in relation to questions of national identity.
Books on the topic "Folk-rock music"
1
Caraman-Fotea, Daniela. Dicționar rock, pop, folk. București: Humanitas, 1999.
Find full text
2
Génération Rock & folk, 40 ans de culture rock. [Paris]: Flammarion, 2006.
Find full text
3
Rick, Jackson. Encyclopedia of Canadian rock, pop & folk music. Kingston, Ont: Quarry Press, 1994.
Find full text
4
Koechlin, Philippe. Mémoires de rock et de folk. [France?]: Mentha, 1992.
Find full text
5
Frazer, Paula. Now it's time. Los Angeles, CA: Birdman, 2007.
Find full text
6
Dylan, Bob. Biograph: A five-record-deluxe-edition. New York, NY: Columbia, 1985.
Find full text
7
Denny, Sandy. Who knows where the time goes? London: Hannibal Records, 1985.
Find full text
8
Michka, Assayas, ed. Dictionnaire du rock: Blues, country, folk, pop, reggae, rock indépendant, soul. Paris: Laffont, 2002.
Find full text
9
group), Mazzy Star (Musical. Among my swan. Hollywood, Calif: Capitol, 1996.
Find full text
10
group), Beirut (Musical. The flying club cup. [Leonia, N.J.]: Ba Da Bing, 2007.
Find full textBook chapters on the topic "Folk-rock music"
1
Wiseman-Trowse, Nathan. "Folk Revival and Folk Rock." In Performing Class in British Popular Music, 106–24. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230594975_6.
Full text
2
Stepanović Ilić, Ivana, Marina Videnović, Zora Krnjaić, and Ksenija Krstić. "6. Adolescent Musical Preferences and their Relationship with Schwartz’s Basic Values." In Psychological Perspectives on Musical Experiences and Skills, 123–42. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0389.06.
Full textAbstract:
This study aimed to identify musical preferences in Serbian adolescents and determine a potential relationship between them and the adolescents’ values. The sample included 1,358 respondents (aged 15–17). Musical preferences were investigated through a scale that included twelve music genres and ten values from Schwartz’s instrument. Four musical preference factors were revealed: Rebellious (Metal, Rock, Punk, and avoidance of Folk music); Sophisticated (Jazz, R&B, Reggae); Energetic (Techno, Hip-hop, House); and Conventional (Pop). Relationships with value dimensions were established, e.g., Rebellious preference correlates positively with Universalism, Power, and Self-direction and negatively with Hedonism and Benevolence; Sophisticated preference is positively and strongly related to Self-direction and Stimulation, while negatively with Security, Conformity, and Tradition; Energetic preference correlates positively with Universalism and negatively with Hedonism; and Conventional preference correlates negatively with Power and Self-direction and positively with Benevolence. Results suggest that the music preferences of Serbian adolescents are comparable to those identified in other countries and that it is possible to relate them to values that the adolescents hold.
3
Schröder, Martin. "4.1 Electric Folk und Folk Rock als Genre." In Musik und Klangkultur, 227–49. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839472682-012.
Full text
4
Purvis, Jason E. "Indigenous Revitalization, Rock Music, and the Holy Spirit." In Living Folk Religions, 293–306. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003257462-23.
Full text
5
"FOLK ROCK." In Music in the 20th Century (3 Vol Set), 223. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-155.
Full text
6
"FOLK,ROCK,AND POP." In Music in the Air, 139–88. Yale University Press, 2020. http://dx.doi.org/10.12987/9780300221091-004.
Full text
7
Smith, Chris. "Stop, Hey, What’s that Sound? 1963–1967." In 101 Albums that Changed Popular Music, 23–54. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195373714.003.0002.
Full textAbstract:
Abstract If the 1940s and 1950s were the age of jazz, blues, folk, and rock-n-roll, then the mid-1960s was certainly focused around the development of rock as an emerging genre distinct from rock and roll, when heady and hardy songcraft took over catchy pop to create music you could feel and think about instead of just dance to. Just as folk music had maintained a political and social agenda in the 1940 and 1950s (making itself a tasty snack for McCarthyism), folk, folk-rock, and psychedelic music became important vehicles for engaging the surrounding culture in the mid-1960s. Rock music became the people’s voice, rallying for community causes that ranged from saving local parks to the Civil Rights movement, and rallying against police brutality and America’s ever-extending involvement in the Vietnam conflict. But more than just another developing musical genre and outlet for disillusioned youth, rock catapulted album sales into unexpected territory, surpassing the $1 billion-per-year mark in 1967 (by this time the album format had largely eclipsed the sale of singles, holding 82 percent of the record market).
8
Altschuler, Glenn C. "“The Day The Music Died”." In All Shook Up, 161–84. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195139433.003.0006.
Full textAbstract:
Abstract Between 1958 and 1963, rock ’n’ roll faltered. Several factors contributed to the lull. The ASCAP-led assault was the most important. The payola probes left rock ’n’ roll gasping for airtime, as many radio stations switched to mellow, melody music. Large record companies promoted polka, calypso, folk music, ballads, novelty songs, and a softer, lushly orchestrated fare. Some independents went pop or merged with a major.
9
Church, Joseph. "Background and Rock Aesthetics." In Rock in the Musical Theatre, 3–14. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190943462.003.0002.
Full textAbstract:
Chapter 1 gives historical and aesthetic context to the topic at hand. It begins with a brief description of the long-standing relationship between popular song and theatre song, and places both popular music and musical theatre in the realm of folk art. There is a brief review of the history of modern popular song and of musical theatre, and specification of the changes that the advent of rock music heralded in both industries. Next is a brief survey of rock music in the theatre, and the sometimes uncomfortable relationship between rock music and theatrical content and performance. Last is a discussion of rock aesthetics, which helps the reader understand the artistic basis of rock music and begin to apply this understanding to performance.
10
Waksman, Steve. "Crowds, Chaos, and Community." In Live Music in America, 345–417. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197570531.003.0008.
Full textAbstract:
Music festivals mattered to the larger development of American live music along multiple fronts in the two decades following the founding of the Newport Jazz Festival. Most saliently, festivals helped to push the business of live music more and more toward large-scale production, laying the groundwork for the arena and stadium rock economy. Because they so often had an aura of idealism surrounding them, however, music festivals could never be reduced to strictly commercial ventures. The combination of scale and singularity gave festivals the aura they would come to possess and made them flash points for contests over cultural values that coursed through the musical styles put on stage. This chapter traces the development of US music festivals from the establishment of the Newport Jazz Festival in 1954, to the Newport Folk Festival in 1959, and then into the era of the rock festival in the late 1960s. In jazz and folk alike—and in rock, where the influence of both would loom large—festivals came to stand for a host of tensions that characterized the social role of popular music in the post-war era.