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Добірка наукової літератури з теми "Humanities -> music -> rock"

Автор: Grafiati
Опубліковано: 26 липня 2024
Оновлено: 27 липня 2024

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Статті в журналах з теми "Humanities -> music -> rock"

1

Dyukin, S. G. "Феноменология рок-культуры как предмет современной гуманитаристики". Вестник гуманитарного образования, № 1(25) (21 квітня 2022): 139–47. http://dx.doi.org/10.25730/vsu.2070.21.075.

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Анотація:
Despite the rootedness of the concepts of rock music and rock culture in scientific discourse, their definition remains vague and uncertain. In modern humanitarianism, a number of directions can be distinguished, within the framework of which the study of these phenomena is conducted and, accordingly, one or another understanding of them is proposed. The purpose of this article is to actualize and systematize various approaches to the understanding of rock that exist within both the scientific approach and the everyday reflection of rock culture subjects. Attempts of such classification have been repeatedly made in foreign and domestic science. With minimal generalization, rock is understood as a set of biographical narratives, or as a modern stage in the development of youth music. In the same cases, when the researcher aims to comprehend the special phenomenology of rock, the latter can be understood as an expression of high culture, which has taken the form of entertainment music, or as a set of certain stylistic phenomena, or as a focus of certain ethical qualities. Sociologists tend to consider rock as a manifestation of a sub- or counterculture. Musicologists can limit themselves to establishing a correlation between rock and blues forms of modern music. The multiplicity of approaches and conclusions leads to the need to find a common denominator that allows you to draw a common line under different positions. As such, the idea of rock culture as a socio-cultural mechanism serving as a mediator and translator of old and new values in order to reconcile them in conditions of radical transformation of culture during the transition to a post-industrial type of society can be proposed. In the process of implementing the functions provided for by the given role of rock culture, that diversity is formed, which is described within the framework of a variety of disciplinary approaches. Несмотря на укорененность в научном дискурсе понятий рок-музыка и рок-культура, их дефиниция остается размытой и неопределенной. В современной гуманитаристике можно выделить целый ряд направлений, в рамках которых ведется исследование этих феноменов и, соответственно, предлагается то или иное их понимание. Цель данной статьи заключается в актуализации и систематизации различных подходов к пониманию рока, бытующих в рамках как научного подхода, так и обыденной рефлексии субъектов рок-культуры. В зарубежной и отечественной науке неоднократно предпринимались попытки подобной классификации. При минимальном обобщении рок понимается как совокупность биографических нарративов, либо как современный этап в развитии молодежной музыки. В тех же случаях, когда исследователь ставит своей целью осмысление особой феноменологии рока, последний может пониматься как выражение высокой культуры, принявшей форму развлекательной музыки, либо как совокупность определенных стилевых феноменов, либо как средоточие определенных этических качеств. Социологам свойственно считать рок-проявлением суб- или же контркультуры. Музыковеды могут ограничиваться установлением корреляции между роком и блюзовыми формами современной музыки. Множественность подходов и выводов подводит к необходимости поиска общего знаменателя, позволяющего подвести общую черту под разными позициями. В качестве такового может быть предложена идея рок-культуры как социокультурного механизма, служащего посредником и транслятором старых и новых ценностей с целью их примирения в условиях радикальной трансформации культуры при переходе к обществу постиндустриального типа. В процессе реализации функций, предусмотренных заданной ролью рок-культуры, формируется та многоплановость, которая описана в рамках множества дисциплинарных подходов.
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2

Morse, Margaret. "Postsynchronizing Rock Music and Television." Journal of Communication Inquiry 10, no. 1 (January 1986): 15–28. http://dx.doi.org/10.1177/019685998601000102.

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3

Boivin, Nicole. "Rock art and rock music: Petroglyphs of the south Indian Neolithic." Antiquity 78, no. 299 (March 2004): 38–53. http://dx.doi.org/10.1017/s0003598x00092917.

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Анотація:
The rock art of Kupgal, south India, represents an archive of images amassed over five millennia. The author works out a first sequence and shows how the Neolithic petroglyph site may have functioned in its landscape – as a ritual locality at which not only images but sound, performance and social relationships were all prominent.
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4

Ganev, Venelin I. "The Borsa: The Black Market for Rock Music in Late Socialist Bulgaria." Slavic Review 73, no. 3 (2014): 514–37. http://dx.doi.org/10.1017/s0037677900027522.

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Анотація:
This paper offers an empirical description and analytical interpretation of theborsa—the largest black market for rock music in Bulgaria in the 1980s. The text illuminates the distinct characteristics of the urban locale that became the focal point of rock fans’ desires and ambitions, examines how the interactions between the entrepreneurs who supplied the music and their adoles-cent clients were embedded in enduring networks of trust, and explores the peculiarities of the borsa as a site where western works of art were mechanically reproduced. It also demonstrates that the place where admirers of rock music met was enlivened by political energies and deliberately demarcated as a space in which ideological differences could manifest themselves, thus contesting Alexei Yurchak's argument that in late socialism it was possible to be loyal to and love “both Lenin and Led Zeppelin.“
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5

Howard, Jay R. "Contemporary Christian Music: Where Rock Meets Religion." Journal of Popular Culture 26, no. 1 (June 1992): 123–30. http://dx.doi.org/10.1111/j.0022-3840.1992.00123.x.

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6

Adelman-Larsen, Niels W., Eric R. Thompson, and Anders C. Gade. "Acoustic investigations of concert halls for rock music." Journal of the Acoustical Society of America 122, no. 5 (2007): 2945. http://dx.doi.org/10.1121/1.2942489.

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7

Skelton, Shannon Blake. "Performing Glam Rock: Gender and Theatricality in Popular Music." Journal of Popular Culture 39, no. 6 (December 2006): 1109–11. http://dx.doi.org/10.1111/j.1540-5931.2006.00346.x.

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8

Mäkelä, Janne. "Alternations." European Journal of Cultural Studies 12, no. 3 (July 16, 2009): 367–82. http://dx.doi.org/10.1177/1367549409105369.

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This article examines the national-international relationship of recent music discourses in Finland. Since 2000, Finnish popular music has gained notable recognition at the international level. Some acts (e.g. HIM, Children of Bodom and Apocalyptica) have even succeeded in the US market, which traditionally has been considered important for music performers. This export boom has had a significant role in the legitimization of rock music, yet it has revealed how contemporary national cultures are produced in a context of popular culture in which distinctiveness often is sought globally. Tracing the changes in Finnish music exports and using the media discourse of metal music as an example, this article argues that international fame not only supports the commercial prosperity and institutional production of Finnish popular music, but also appears as a form of modern nation-building.
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9

Tetzlaff, David. "Music for Meaning: Reading the Discourse of Authenticity in Rock." Journal of Communication Inquiry 18, no. 1 (January 1994): 95–117. http://dx.doi.org/10.1177/019685999401800106.

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10

Adelman-Larsen, Niels Werner, Eric R. Thompson, and Anders C. Gade. "Suitable reverberation times for halls for rock and pop music." Journal of the Acoustical Society of America 127, no. 1 (January 2010): 247–55. http://dx.doi.org/10.1121/1.3263611.

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Більше джерел

Дисертації з теми "Humanities -> music -> rock"

1

Keith, Brandon P. "Southern rock music as a cultural form." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003110.

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2

Shea, Nicholas Jordan. "Ecological Models of Musical Structure in Pop-rock, 1950–2019." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu158755665247824.

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3

Melendez, Elisa M. "For Those About to Rock: Gender Codes in the Rock Music Video Games Rock Band and Rocksmith." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3685.

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Анотація:
This dissertation explores gender codes within the intersection of two American pop culture staples, video games and rock music, by conducting a feminist analysis of two video games (Rock Band and Rocksmith). Both video games and rock music have had their share of feminist academic critique: Musicologists point out how lack of canonical inclusion, gendered attitudes towards instruments, and messages from supporting media create an unwelcome environment for women to pursue a rock music career. Game studies scholars have examined similar attitudes, including a lack of women represented in both the video games and the studios that create them. Through a mix of creator and player interviews, participant observation, content analysis, and autoethnography, I look at the intersection of these two literatures (the rock music video game) to see how gender is hard-coded into the game, and what opportunities, if any, exist for subversion of societal and industry gender norms. Through not just looking at the game as text, I present a more “thick description” of a video game that takes into account the creators of the games, the players that play them, and a researcher that occupies multiple identities within the space. I argue that, in an effort to replicate an authentic rock musician experience in a video game, Rock Band and Rocksmith often replicate a lot of these gendered messages. The games’ text and set list emphasize a male-centric rock music canon. Rocksmith’s original whiskey-soaked visual design and marketing skew heavily towards an older male demographic. However, resistances to these codes exist in both the players who defy expectations by showing up to perform and compete, as well as the creators who actively work to make these games more inclusive via changes to future games as well as inclusive hiring practices, marketing, and music sourcing (with varying degrees of success).
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4

Branstetter, Leah Tallen. "Women in Rock and Roll's First Wave." Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case1555003265733456.

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5

Bahr, Mickey. "...and then, Claire an indie-rock monologue; integrating the independent music scene into American musical theatre." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/653.

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Анотація:
For more than fifty years, the Independent (indie) Music Scene has existed as an evolving business model, allowing indie artists to develop a wealth of progressive musical ideas while creating a sustainable audience base. American Musical Theatre has an already-established rich history of adapting styles to fit concurrent trends in popular music while maintaining the story as the core of a show. While some indie artists (The Lisps, The Mountain Goats, Stephin Merritt, and Stew) and some musical theatre composers (David Yazbek, Doug Crossley, and Michael Friedman) have created crossover works, there is currently an overall dearth of musical theatre pieces infused with the indie style and a lack of indie albums with an actable musical theatre storyline. The intent of this thesis is to prove that although American Musical Theatre and the Independent Music Scene are two vastly different art forms, they can be combined to create a viable and unique form that appeals to both audiences. The indie-rock monologue ...and then, Claire was composed, recorded, and performed to test the viability of this thesis. In addition to presenting research on the history of American Musical Theatre and the Independent Music Scene, an analysis of the already-successful artists mentioned above is presented to provide context for ...and then, Claire. This context along with the original indie-rock monologue proves successful combinations of American Musical Theatre and the Independent Music Scene as well as the potential for more attempts in the future.
B.F.A.
Bachelors
Arts and Humanities
Theatre
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6

Bécue, Aurélien. "Rock et littérature : à l'écoute d'un espace littéraire contemporain : bruits, distorsions, résonances." Phd thesis, Université Rennes 2, 2013. http://tel.archives-ouvertes.fr/tel-00831257.

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Croisant deux sphères artistiques dont les relations ont été quelque peu ignorées et dont les antagonismes ont été parfois fantasmés, cette étude se propose d'analyser les résonances croisées, fécondes et réciproques existant entre le rock et la littérature. Ouvrant un champ de recherche quasiment vierge, elle est confrontée à l'instabilité d'un mot insaisissable (le rock) qui est peut-être en cela une métaphore de l'imaginaire contemporain. Critique et vecteur du spectacle, bruit apparemment informe dont il est difficile de parler, le rock résonne dans les productions littéraires comme il est influencé par elles. A l'aune de cette problématique, nous avons cherché à manifester un espace littéraire à l'écoute du rock, espace hétérogène constitué par des rock-fictions ou fictions du rock, la critique rock, les écrits des artistes, une poésie électrique ou encore des oeuvres littéraires sans cesse citées par les musiques populaires. Outre une cartographie de cet espace, nous avons observé la manière dont les textes fantasment leur proximité, leur appartenance ou leur rejet du rock et, ou, du littéraire, dans autant d'échos et de distorsions poétiques, esthétiques et axiologiques. Dès lors, eu égard à la disparité formelle du rock et à sa volatilité sémantique, cette analyse dépasse nécessairement les bornes d'une réflexion musico-littéraire. La métaphore de l'écoute qui l'a guidé ne vise donc pas (simplement) à réconcilier amateurs ou littératures des musiques savantes et des musiques populaires, mais elle est le modèle d'une posture d'écoute qui conjugue aussi bien la distraction face aux résonances (littéraires) du rock que l'attention face aux dissonances du réel
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7

Petersen, Theodore G. "Documenting Dylan : how the documentary film functions for Bob Dylan fans." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001902.

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8

Hyder, Thomas. "The Legacy of Civil Rights Protest Music: Sweet Honey in the Rock's "The Ballad of Harry T. Moore"." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5314.

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Анотація:
This study investigates the role music played in the Civil Rights Movement as a form of political protest. The first part of the studies analyzed how political protest music was used in the early part of the twentieth-century leading up to the Civil Rights Movement of the 1960s. An analysis of the role of music in African-American culture also provides a historical background to the music-making of the Civil Rights Movement. Specific musical forms such as topical ballads, freedom songs, and spirituals are examined. In addition, musical influences of African culture as well as religious influences on music-making during the Civil Rights Movement are also examined. The second section of the paper investigates the life and murder of NAACP organizer Harry T. Moore of Mims, Florida. Moore's life and death became the subject of a topical ballad, “The Ballad of Harry T. Moore”, composed in 2001 by musical group Sweet Honey In The Rock. An analysis of the song's, literary, political, and musical connections to the ideology and music of the Civil Rights Movement, as well as subject matter, gives evidence that places the song within the tradition of the musical protest activities of the Civil Rights Movement.
M.A.
Masters
Music
Arts and Humanities
Music
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9

Henry, Lucas Aaron. "Freedom Now!: Four Hard Bop and Avant-Garde Jazz Musicians' Musical Commentary on the Civil Rights Movement, 1958-1964." [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-1110104-224112/unrestricted/HenryL121004f.pdf.

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Анотація:
Thesis (M.A.)--East Tennessee State University, 2004.
Title from electronic submission form. ETSU ETD database URN: etd-1110104-224112 Includes bibliographical references. Also available via Internet at the UMI web site.
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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.

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Анотація:
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.
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Книги з теми "Humanities -> music -> rock"

1

Connect Online Access for Rock Music Styles: A History. McGraw-Hill Higher Education (US), 2015.

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2

Poetics of Rock: Cutting Tracks, Making Records. University of California Press, 2001.

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3

Death and the Rock Star. Taylor & Francis Group, 2015.

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4

Death and the Rock Star. Taylor & Francis Group, 2020.

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Тези доповідей конференцій з теми "Humanities -> music -> rock"

1

Dimitrakopoulou, Georgia. "�NOVELLA GRECA.� ?. SERAO�S 19TH CENTURY GREECE. ITS REALITIES AND ITS ANTITHESES." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.17.

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In the short story Novella Greca, in her book: Fior di Passione, 1888, the author M. Serao narrates the true story of Calliope Stavro, the heroine (Calliopi Stavrou in Greek), in Leucade - Santa Maura (Lefkada - Agia Mavra in Greek), an island of the Ionian Sea, in 19th century Greece. At that time, the country was just freed from the Turkish occupation, trying to recover from more than 400 years of slavery and subjugation to the Ottoman Empire. Calliope Stavro represents the woman of her time, imprisoned in the small society of her island, suffocated, asphyxiated, disillusioned and unfulfilled. Thus, she decides to commit suicide not having a way out in her island, which although it is a naturally beautiful place due to its greenery, it is a barren rock �thrown� into the Ionian Sea without any promising future for its inhabitants. Serao realistically exposes the true story of the heroine�s female identity, whose death signifies her suffocation within the patriarchal society of her time. The writer presents the outlets of human existence, the small society of the island, the negative influence of the heroine�s microcosm, which mostly depends on the raisin trade, its production and export, with which almost all the males of the island are preoccupied, since it provided a profitable income in that time. Faced with the crushing reality of her life, the non-existence of love, no romance, male dominance, and indifference, even misogynism, she chooses death, she surrenders to her doomed destiny and the futility of existence, because she is not allowed to live a free life according to her will. Her fatal fall from Lefkata�s cape, where in ancient times there was a temple of god Apollo, god of music, light, and patron of the arts and divination, signifies the death of the gods of Olympus. Their place has been taken by a harsh reality, the revelation of the demands of the human soul, its desires, and its dead ends. Greece will need and still needs a long way to go to find the place it deserves in history, free from patriarchal structures, prejudices, and the impasses that they entail. The story of Calliope Stavro proves in practice the predicament of the female under the patriarchal standards of her era and the unsatisfied desires of the human psyche, which are sacrificed for the sake of survival, most times with unpredictable, unpleasant and unhappy results.
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