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

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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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11

Hampton, Timothy. "Bob Dylan in the Country." Representations 152, no. 1 (2020): 103–22. http://dx.doi.org/10.1525/rep.2020.152.5.103.

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Анотація:
At the close of the 1960s two developments changed the shape of mainstream rock and roll music. The first was a new focus, on the part of a number of influential artists, on music about domestic life—kids, spouses, home. The second was a new interest in blending rock rhythms with instrumentation and themes taken from country music. This essay explores the ways in which these two concerns overlap in the work of Bob Dylan. I argue that Dylan’s work at the turn of the decade offers insights into our own current moment, when the relationship between the public world and the private world is being renegotiated. I show how Dylan’s “country” songs are, in fact, models of self-conscious experimentation that push against the conventions of popular song and highlight the conditions of their own production.
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12

Morgan, Michael J. "Rock and Roll Unplugged: African-American Music in Eighteenth-Century America." Eighteenth-Century Studies 27, no. 4 (1994): 649. http://dx.doi.org/10.2307/2739445.

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13

Strong, John T., Brandon Cudequest, and Dawn Schuette. "Can rock and roll be a good neighbor: Auralizing the thump next door." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A32. http://dx.doi.org/10.1121/10.0015440.

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Анотація:
Downtown Omaha is undergoing significant revitalization to include a 3,000-capacity live music venue. While myriad event types are expected in this new venue, a substantial portion are expected to be high-energy, high-volume musical performances such as rock/metal, country, hip hop, and electronic dance music. This new building is sited within one hundred feet of condominiums, apartments, and a hotel. The overall area is zoned as a central business district and has a permissive policy for decibel limits at neighboring properties. This paper will discuss how the design team helped project stakeholders create a good neighbor policy through the use of auralizations and how those criteria informed the enclosure design and sound isolation strategies for the venue.
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14

Bain, Paula Clarke. "A melodic interlude: key notes for indexing books about music." Indexer 42, no. 1 (March 2024): 5–18. http://dx.doi.org/10.3828/index.2023.53.

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Анотація:
There is much to enjoy about composing indexes to books on music, but they can present a suite of different challenges. In this article, based on her presentation to the 2023 conference of the Indexing Society of Canada/Société canadienne d’indexation (ISC/SCI), Paula Clarke Bain shares her experience and tips on indexing several types of musical books, including scholarly works on classical music, and trade biographies/memoirs of contemporary pop/rock stars, offering insight into how to fine-tune your practice when indexing such materials.
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15

Wald, Gayle. "Just a Girl? Rock Music, Feminism, and the Cultural Construction of Female Youth." Signs: Journal of Women in Culture and Society 23, no. 3 (April 1998): 585–610. http://dx.doi.org/10.1086/495280.

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16

Rhodes, Carl. "Outside the Gates of Eden: Utopia and Work in Rock Music." Group & Organization Management 32, no. 1 (February 2007): 22–49. http://dx.doi.org/10.1177/1059601106294486.

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17

McCARTHY, KATE. "Not Pretty Girls?: Sexuality, Spirituality, and Gender Construction in Women's Rock Music." Journal of Popular Culture 39, no. 1 (February 2006): 69–94. http://dx.doi.org/10.1111/j.1540-5931.2006.00204.x.

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18

Mota Zurdo, David. "El terrorismo en la música vasca: de los cantautores al rock radical y sus herederos." Araucaria, no. 50 (2022): 205–27. http://dx.doi.org/10.12795/araucaria.2022.i50.09.

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En este artículo se analiza la impronta del terrorismo en la música vasca desde la década de 1980 a la del 2000, prestando especial atención a la imagen del “conflicto vasco”, a ETA y a los militantes de esta organización terrorista. Posteriormente, se examina qué tipo de contenido se ha mantenido en las canciones de este estilo musical, haciendo hincapié en las víctimas y las temáticas que se han impulsado desde el final de ETA.
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19

Scott, E. K. Ellington, and Jonas Braasch. "Computational aspects of real-time auralizations of jazz venues." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A280. http://dx.doi.org/10.1121/10.0023524.

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Historically, architectural acoustics has focused on concert halls for European Classical music, even though other genres, including rock, blues, and Jazz, have large groups of followers as well. Additionally, the acoustic requirements for European Classical music differ fundamentally from Jazz and other music. For example, Jazz venues are typically smaller and dryer than a traditional European Classical concert hall. A recent survey showed that reverberation in these venues plays a secondary role to parameters that describe the affordance of a space to allow communication between improvising musicians. This presentation focuses on the unique computational auralization aspects of Jazz venues, including wave-based approaches for smaller enclosures, low-latency requirements, intelligent accompanying systems that can adapt ad-hoc to jazz soloists, and the use of anechoic jazz recordings as source material. The adequacies of different reproduction systems, from higher-order ambisonics and wave-field synthesis to headphone-based systems, will also be discussed. [Work supported by James West Fellowship, Leo and Gabriella Beranek Scholarship, and NSF HCC-1909229.]
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20

Gemie, Sharif. "Roots, rock, Breizh: music and the politics of nationhood in contemporary Brittany*." Nations and Nationalism 11, no. 1 (January 2005): 103–20. http://dx.doi.org/10.1111/j.1354-5078.2005.00194.x.

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21

Todd, Neil P. McAngus, and Frederick W. Cody. "Vestibular responses to loud dance music: A physiological basis of the “rock and roll threshold”?" Journal of the Acoustical Society of America 107, no. 1 (January 2000): 496–500. http://dx.doi.org/10.1121/1.428317.

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22

Lenz, Richard L. "Adjustable acoustics for imperfect rooms." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A21. http://dx.doi.org/10.1121/10.0015407.

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Анотація:
Very often, acousticians are faced with room dimensions that are fixed and cannot be adjusted. This dilemma is exascerbated when the room is to be used for purposes of music performance. It is further complicated when the goal of the room is to present a broad spectrum of music types from classical symphony to modern jazz or rock. An example will be presented of an essentially square room space that was designed and treated to be adaptable to meet the requirements of all types of performances. Tabor College in Hillsboro, KS had space on its campus to build one concert that had to serve all of its performance needs. The physical space available, in order to maximize the size of the hall, also turned out to be a nearly perfect square in the audience area. Tom Ryan of The Hallani Group, working with the author and RealAcoustix, designed an acoustical system that allows the room to perform well for all types of music performances while being easy to change and architecturally beautiful. The design criteria, auralizations, and other information will be presented showing how this was accomplished.
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23

Kennedy, David. "Frankenchrist versus the State: The New Right, Rock Music and the Case of Jello Biafra." Journal of Popular Culture 24, no. 1 (June 1990): 131–48. http://dx.doi.org/10.1111/j.0022-3840.1990.13187741.x.

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24

Sanjek, David. "The Bloody Heart of Rock ‘n’ Roll: Images of Popular Music in Contemporary Speculative Fiction." Journal of Popular Culture 28, no. 4 (March 1995): 179–209. http://dx.doi.org/10.1111/j.0022-3840.1995.00179.x.

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25

St. Lawrence, Janet S., and Doris J. Joyner. "The Effects of Sexually Violent Rock Music on Males' Acceptance of Violence Against Women." Psychology of Women Quarterly 15, no. 1 (March 1991): 49–63. http://dx.doi.org/10.1111/j.1471-6402.1991.tb00477.x.

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26

Lee, Steven S. "Deterritorialized Nationality: Viktor Tsoi Saves the World." Slavic Review 82, no. 1 (2023): 159–83. http://dx.doi.org/10.1017/slr.2023.98.

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Анотація:
This article uses Alexei Yurchak's account of late socialist performance and the deterritorialization of authoritative discourses to discuss the half-Korean identity of Viktor Tsoi, the most prominent rock start emerging from the perestroika period. It uses representations and perceptions of Tsoi from the 1980s to argue that in this period, it was possible to perform the nationalities listed in each Soviet citizen's passport, as well as official slogans like “the friendship of peoples,” in ways that allowed for flexible understandings of group identity—what the article conceptualizes as “deterritorialized nationality” via overviews of Soviet nationalities policy and the history of Soviet Koreans. The article illustrates deterritorialized nationality through readings of the landmark films Assa (1987), which concludes with a performance by Tsoi, and Needle (1988), which stars and features the music of Tsoi. In both films Tsoi's racial difference is evident in ways not possible in his music alone, but race takes on unanticipated meanings—hearkening to radical internationalisms that help us to think beyond our ever more polarized discussions surrounding identity in the west, as well as the renewed polarization of Russia and the west.
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27

Breen, Marcus. "A stairway to heaven or a highway to hell?: Heavy metal rock music in the 1990s." Cultural Studies 5, no. 2 (May 1991): 191–203. http://dx.doi.org/10.1080/09502389100490161.

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28

Decker, Todd. "Fancy Meeting You Here: Pioneers of the Concept Album." Daedalus 142, no. 4 (October 2013): 98–108. http://dx.doi.org/10.1162/daed_a_00233.

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Анотація:
The introduction of the long-playing record in 1948 was the most aesthetically significant technological change in the century of the recorded music disc. The new format challenged record producers and recording artists of the 1950s to group sets of songs into marketable wholes and led to a first generation of concept albums that predate more celebrated examples by rock bands from the 1960s. Two strategies used to unify concept albums in the 1950s stand out. The first brought together performers unlikely to collaborate in the world of live music making. The second strategy featured well-known singers in songwriter-or performer-centered albums of songs from the 1920s, 1930s, and 1940s recorded in contemporary musical styles. Recording artists discussed include Fred Astaire, Ella Fitzgerald, and Rosemary Clooney, among others.
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29

Baltes, Felix, Leon Chemnitz, and Elke B. Lange. "Pleasantness of nonlinear distortion in isolated triads of synthetic timbre." Journal of the Acoustical Society of America 154, no. 2 (August 1, 2023): 1028–40. http://dx.doi.org/10.1121/10.0020667.

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Анотація:
Distortion of sound is an important tool to increase the variety of timbres in musical compositions, but perceived pleasantness of distortion is understudied, and studies are limited to guitar practices in rock and metal music. This study applied a more systematic approach, using synthetic timbre and creating an audio-plugin that realized nonlinear symmetric and asymmetric distortion. Participants evaluated the perceived pleasantness of isolated triads differing in distortion (undistorted, symmetric, asymmetric), tonality (minor, major), and position (low, high, wide), taking baseline differences of tonality and position into account. Perceived pleasantness decreased by distortion, and the decrease was stronger for minor than major triads and stronger for asymmetric than symmetric distortion. Position played only a minor role in the evaluations, except for stimuli in high positions. Stimulus-based analyses showed a relation between pleasantness and the variability of roughness, mean spectral centroid, and mean sound intensity. Subject-based analyses revealed a smaller decrease in pleasantness with a preference for electronic music. Importantly, some distorted triads were rated as pleasant in absolute terms: major triads with symmetric distortion in low or wide position. That is, indeed, distortion is not always categorized as unpleasant but can be perceived as pleasant.
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30

Braasch, Jonas. "Acoustical affordances and challenges with indigenous and orchestral wind instruments." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A185. http://dx.doi.org/10.1121/10.0023209.

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All our orchestral wind instruments evolved over many centuries from indigenous prototypes. The latter were developed using found hollow objects like animal horns for early brass instruments, vulture bones for flutes, and termite-infested eucalyptus branches for the Australian didjeridu. Already over 40,000 years ago, the concept of finger holes was conceived that allowed musicians to play various scales on instruments. During the Rennaissance and early Baroque, wind instrument ranges were extended to 1 1/2 octaves and beyond on a diatonic scale and extended cross-fingering capabilities, but it was during the romantic period that our orchestral instruments reached their final form, with chromatic extended tonal ranges and known well balanced timbral qualities. Built on an industrial scale, these instruments became a commodity without real alternatives for subsequent music styles, including jazz, rock, and classical avant-garde. These styles often sought a new timbral expressiveness that can go beyond the intended design of orchestral instruments. In this paper, it will be discussed how different wind instrument designs offer(ed) unique opportunities for music genres over time and how the original design of indigenous instruments better meets some of the more recent requirements than our commonly used orchestral instruments.
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31

Antinora, Sarah. "How the Beatles Destroyed Rock “N” Roll: An Alternative History of American Popular Music by Elijah Wald." Journal of Popular Culture 43, no. 2 (April 2010): 408–9. http://dx.doi.org/10.1111/j.1540-5931.2010.00748.x.

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32

Barden, Tom. "The Rock and Roll Hall of Fame and Museum's American Music Masters Series: Woody Guthrie, 1996. Jimmie Rodgers, 1997. Robert Johnson." Journal of American Folklore 112, no. 446 (1999): 551. http://dx.doi.org/10.2307/541493.

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33

Pastore, M. Torben, and Nikhil Deshpande. "The evolution and maturation of the electric guitar as a system." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A182. http://dx.doi.org/10.1121/10.0011034.

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The electric guitar came to its initial prominence in the 1940s when its volume allowed jazz guitarists like Charlie Christian to step out in front of the rhythm section like other soloists, competing with the brass, wind, and piano. Further changes in the playing and design of the instrument came with exploitation of the interaction of the electric guitar, tube amplifiers, and analog effects as a larger system. Especially in the rock and funk idioms, the playing and construction of the overall instrument evolved and expanded rapidly with the mainstream embrace of digital technology. This talk will consider the evolution of the electric guitar as a system up through today and consider why it seems the instrument has fully evolved and is unlikely to experience further seismic shifts, especially as the overall thrust of music has shifted to digitally-manipulated sound that is often entirely independent of the physical playing of any instrument.
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34

Toppins, Aggie. "Dig If You Will the Picture…: Reading Prince's Semiotic World." Design Issues 38, no. 4 (2022): 63–75. http://dx.doi.org/10.1162/desi_a_00698.

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Abstract Prince Rogers Nelson (1958–2016) was an innovative American musician whose life and work defied categorization. His music combined the spiritual with the sexual while spanning funk, rhythm and blues, soul, rock and roll, and pop genres. Prince embraced nonbinary gender performance and, as a Black artist of enormous celebrity, exemplified what W. E. B. Du Bois named double-consciousness: a sensibility gained from looking at oneself through the eyes of others; a “two-ness” derived from being both American and Black. Prince used multivalent signs, symbols, and codes to craft an enigmatic personal mythology. In this essay, I use Roland Barthes's poststructuralist theory and Stuart Hall's writing on stereotypes to examine Prince's semiotic world. By studying recurring motifs in his lyrics, fashion, and visual communication design, I show that Prince's signifying practices constitute a sensual text that, through illegibility, catalyzed emancipatory cultural expressions.
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Medeiros, Derek. "Sonic City: Making Rock Music and Urban Life in Singapore. SteveFerzacca. National U of Singapore P, 2021. 288 pp. $36.00 paper." Journal of Popular Culture 56, no. 2 (April 2023): 396–98. http://dx.doi.org/10.1111/jpcu.13239.

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OTTENHEIMER, HARRIET JOSEPH. "Crossing, Creolization, and the African Roots of American Culture:Group Harmony: The Black Urban Roots of Rhythm and Blues;Right to Rock: The Black Rock Coalition and the Cultural Politics of Race;Crossovers: Essays on Race, Music, and American Culture." American Anthropologist 108, no. 3 (September 2006): 528–30. http://dx.doi.org/10.1525/aa.2006.108.3.528.

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Baró Casanovas, Josep. "“Not So Glamorous at All”: The Consequences of Fame and Celebrity Status in The Cranberries’ To The Faithful Departed." Estudios Irlandeses, no. 18 (March 17, 2023): 118–33. http://dx.doi.org/10.24162/ei2023-11440.

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The Cranberries have been considered to be one of the major rock bands from Ireland. From 1993 until 2019, they released eight studio albums, and hit the world charts with songs such as “Linger” and “Zombie”, before disbanding following singer Dolores O’Riordan’s death. After two very successful and critically acclaimed records, The Cranberries’ third release To The Faithful Departed (1996) became the target of harsh criticism, as the press considered it to be lyrically shallow. As a result, The Cranberries’ third album has been traditionally analysed in that way. This paper aims at providing a new, comprehensive analysis of The Cranberries’ To The Faithful Departed by bringing the band’s then recently achieved stardom into focus, as such an experience had a significant impact on the four members’ emotional state, and hence in the songwriting. Thus, it is hoped that the present article will provide a greater understanding of how the lyrics of The Cranberries’ 1996 album reflect the struggles of a band achieving celebrity status in the music industry. This essay can be viewed as innovative for two reasons: firstly, there has been a lack of academic research on The Cranberries, and secondly, it offers a new reading of their third record To The Faithful Departed.
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Gilliland, Eric. "Working Class Heroes: Rock Music and British Society in the 1960s and 1970s. David Simonelli. Lanham, MD: Lexington Books, 2013. 301 pp. $33.29 cloth." Journal of Popular Culture 47, no. 2 (April 2014): 414–16. http://dx.doi.org/10.1111/jpcu.12132.

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Gaut, Greg. "Rocking the State: Rock Music and Politics in Eastern Europe and Russia. Ed. Sabrina Petra Ramet. Boulder: Westview Press, 1994. x, 317 pp. Index. Plates. $59.95, hard bound." Slavic Review 54, no. 1 (1995): 151–52. http://dx.doi.org/10.2307/2501140.

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Ferris, William. "Southern Literature: A Blending of Oral, Visual & Musical Voices." Daedalus 141, no. 1 (January 2012): 139–53. http://dx.doi.org/10.1162/daed_a_00136.

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The blending of oral traditions, visual arts, and music has influenced how Southern writers shape their region's narrative voice. In the South, writing and storytelling intersect. Mark Twain introduced readers to these storytellers in “Adventures of Huckleberry Finn.” Twain blends both black and white voices within Huck's consciousness and awareness – in Huck's speech and thoughts – and in his dialogues with Jim. A narrative link exists between the South's visual artists and writers; Southern writers, after all, live in the most closely seen region in America. The spiritual, gospel, and rock and roll are musical genres that Southern writers love – although jazz, blues, and ballads might have the most influence on their work. Southern poets and scholars have produced anthologies, textbooks, and literary journals that focus on the region's narrative voice and its black and white literary traditions. Southern writers have created stories that touch the heart and populate American literature with voices of the American South. Future Southern writers will continue to embrace the region as a place where oral, visual, and musical traditions are interwoven with literature.
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Phol, Michaela. "Notes from Underground: Rock Music Counterculture in Russia. By Thomas Cushman. SUNY Series in the Sociology of Culture. Albany: State University of New York Press, 1995. xxiv, 403 pp. Bibliography. Glossary. Index. Tables. Paper." Slavic Review 55, no. 4 (1996): 941–42. http://dx.doi.org/10.2307/2501287.

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Azeem, Muhammad, M. K. Sangi, and Komal Ansari. "FOREGROUNDING OF POSTCOLONIAL ELEMENTS IN HANIF KUREISHI’S THE BLACK ALBUM." Humanities & Social Sciences Reviews 9, no. 3 (June 19, 2021): 1018–26. http://dx.doi.org/10.18510/hssr.2021.93100.

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Purpose of the study: This study aims to examine the postcolonial elements i.e, hybridity, mimicry, and ambivalence concerning Hanif Kureishi’s novel The Black Album (1995). The protagonist of the novel faces religious, economic, social, racial, and ethnic identities in a tormenting and perturbing social order of England. Methodology: This article is based on inductive reasoning and thus exploratory due to its qualitative nature. A close reading method is applied to the text of this paper. For this purpose, the researcher has read carefully the book Close Reading (The Basics 2018) by David Greenham. The method consists of five stages through which the paper scrutinized. Main Findings: The researcher endeavors to find out religious, economic, ethnic, cultural, and social factors behind the identity crisis faced by the protagonist. Hybridity, mimicry, assimilation, and ambivalence play a very vital role in the social life of the protagonist. The researcher found that Shahid Hassan is caught between two identities i.e, Islamic fundamentalism and liberalism. Islamic fundamentalism offered him much peace and satisfaction with the Islamic religion whose leader is Riaz Al Husain but the liberalism attracts his attention with drugs, sex, music, freedom, rock n` rolls, and carefree life in form of Deedee Osgood who is his mentor and is a college lecturer too. He becomes the victim of hybrid identity and remains in an ambivalent state of mind. Being a British immigrant, he always remains in search of his true identity. Being a postcolonial novel, it helps the students, teachers, and literature lovers to know about the biased and rude behaviour of the whites towards non-whites. Application of the study: Foregrounding of postcolonial elements is very significant only in the field of postcolonial study because it highlights economic, religious, political, social, cultural, and ethnic factors of identity crisis. Novelty/Originality of this study: This study is an original contribution as it examines the economic, political, racial, social, and ethnic issues faced by the protagonist. The researcher employed Homi Bhabha’s postcolonial elements to examine the identity crisis faced by the protagonist. Moreover, the close reading method for data analysis is based on originality as well as novelty.
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Bahun, Sanja. "Beyond good and evil? Popular songs, mathemes and bus rides (art and transition in the region of the former Yugoslavia)." Media, War & Conflict 13, no. 1 (August 7, 2019): 70–87. http://dx.doi.org/10.1177/1750635219866969.

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Art production and art reception play a vital role in transitional societies. However, their actual operation and patterns of impact often appear ‘messy’ to those who use and evaluate art in transitional contexts: an artwork can serve as a catalyst for peace building and transitional justice processes, but it can also obstruct such processes, or impart ambiguous meanings to them; and its modes of operation (including the art producers’ awareness of their role in transitional justice processes), its reception trends and its influence on transitional society all vary over time. Framed by transitional justice theory and an interdisciplinary approach that incorporates the insights of psychosocial cultural studies, comparative arts and the phenomenology of embodiment, this article scrutinizes this ambivalent operation in relation to the fluctuating sphere of reception in the region of the former Yugoslavia since the establishment of the International Criminal Tribunal for the former Yugoslavia (ICTY) in 1993. The author juxtaposes art practices widely different in terms of expression, format, scope, reach and ambition, but comparable insofar as they all operate in the ‘open’ and appeal to senses and repetition engagement to create patterns of affiliation. These include various types of popular music (turbo-folk, rock, hip-hop, soft pop) and the public intervention activities of the Serbian DAH Theatre and pan-regional art and theory collective Monument Group. The article argues for the development of hermeneutic and axiological thinking that befits the complex functioning of art in transition: nuanced and multilevelled, challenging inherited hierarchies and paradigms while appreciating the prolonged life/impact of art practices and the sensorial, cognitive and ideological variation in their reception. It proposes moving beyond the binary assessments and adopting a more dynamic approach to the evaluation of artworks in transition for the benefit of both scholars and practitioners in the field.
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Willett, Ralph. "Charles K. Wolfe, Kentucky country: Folk and Country Music of Kentucky (Lexington, Ky: University Press of Kentucky, 1982, $16.00). Pp. 199. - Ellesa Clay High, Past Titan Rock: Journeys into an Appalachian Valley (Lexington, Ky: University Press of Kentucky, 1984, $16.00). Pp. 183." Journal of American Studies 19, no. 1 (April 1985): 151–53. http://dx.doi.org/10.1017/s0021875800020417.

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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 81, no. 1-2 (January 1, 2007): 101–62. http://dx.doi.org/10.1163/22134360-90002479.

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Frederick H. Smith; Caribbean Rum: A Social and Economic History (Franklin W. Knight)Stephan Palmié; Wizards and Scientists: Explorations in Afro-Cuban Modernity and Tradition (Julie Skurski)Miguel A. De la Torre; The Quest for the Cuban Christ: A Historical Search (Fernando Picó)L. Antonio Curet, Shannon Lee Dawdy & Gabino La Rosa Corzo (eds.); Dialogues in Cuban Archaeology (David M. Pendergast)Jill Lane; Blackface Cuba, 1840-1895 (Arthur Knight)Hal Klepak; Cuba’s Military 1990-2005: Revolutionary Soldiers during Counter-Revolutionary Times (Antoni Kapcia)Lydia Chávez (ed.); Capitalism, God, and a Good Cigar: Cuba Enters the Twenty-First Century (Ann Marie Stock)Diane Accaria-Zavala & Rodolfo Popelnik (eds.); Prospero’s Isles: The Presence of the Caribbean in the American Imaginary (Sean X. Goudie)Alexandra Isfahani-Hammond (ed.); The Masters and the Slaves: Plantation Relations and Mestizaje in American Imaginaries (Danielle D. Smith) David J. Weber; Bárbaros: Spaniards and Their Savages in the Age of Enlightenment (Neil L. Whitehead)Larry Gragg; Englishmen Transplanted: The English Colonization of Barbados, 1627-1660 (Richard S. Dunn)Jon F. Sensbach; Rebecca’s Revival: Creating Black Christianity in the Atlantic World (Aaron Spencer Fogleman)Jennifer L. Morgan; Laboring Women: Reproduction and Gender in New World Slavery (Verene A. Shepherd)Jorge Luis Chinea; Race and Labor in the Hispanic Caribbean: The West Indian Immigrant Worker Experience in Nineteenth-Century Puerto Rico, 1800-1850 (Juan José Baldrich)Constance R. Sutton (ed.); Revisiting Caribbean Labour: Essays in Honour of O. Nigel Bolland (Mary Chamberlain)Gert Oostindie; Paradise Overseas: The Dutch Caribbean: Colonialism and its Transatlantic Legacies (Bridget Brereton)Allan Pred; The Past Is Not Dead: Facts, Fictions, and Enduring Racial Stereotypes (Karen Fog Olwig)James C. Riley; Poverty and Life Expectancy: The Jamaica Paradox (Cruz María Nazario)Lucia M. Suárez; The Tears of Hispaniola: Haitian and Dominican Diaspora Memory (J. Michael Dash)Mary Chamberlain; Family Love in the Diaspora: Migration and the Anglo-Caribbean Experience (Kevin Birth)Joseph Palacio (ed.); The Garifuna: A Nation Across Borders (Grant Jewell Rich)Elizabeth M. DeLoughery, Renée K. Goss on & George B. Handley (eds.); Caribbean Literature and the Environment: Between Nature and Culture (Bonham C. Richardson)Mary Gallagher (ed.); Ici-Là: Place and Displacement in Caribbean Writing in French (Christina Kullberg)David V. Moskowitz; Caribbean Popular Music: An Encyclopedia of Reggae, Mento, Ska, Rock Steady, and Dancehall (Kenneth Bilby)John H. McWhorter; Defining Creole (Bettina M. Migge)Ellen M. Schnepel; In Search of a National Identity: Creole and Politics in Guadeloupe (Paul B. Garrett)
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de Kloet, Jeroen. "Book Reviews : Andreas STEEN, Der Lange Marsch des Rock'n'Roll: Pop- und Rockmusik in der Volksrepublik China (The Long March of Rock'n'Roll: Pop and Rock Music in the People's Republic of China). Münster, Hamburg and London: Lit Verlag 1996. 264 pp. ISBN: 3-8258-2941-3. Price: DM38.80." China Information 13, no. 2-3 (September 1998): 146–48. http://dx.doi.org/10.1177/0920203x9801300228.

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Budiwirman, Budiwirman, Syeilendra Syeilendra, Ary Ramadhan, and Syafei Syafei. "SENI TRADISIONAL DALAM SENI MUSIK MODREN: ANALISIS BERDASARKAN NILAI PENDIDIKAN." Gorga : Jurnal Seni Rupa 12, no. 1 (June 24, 2023): 108. http://dx.doi.org/10.24114/gr.v12i1.27135.

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Traditional arts that have high artistic value must always be preserved from extinction. In order to maintain the popularity of traditional art in Indonesia, it is necessary that artists, teachers, and society understand it deeply. Every fine arts artist, teacher, and community must have a sense of nationalism towards traditional art in order to be able to maintain and become a stronghold of traditional art itself. This study aims to rediscover the values of traditional culture that are spread in several regions in Indonesia with the hope that it can be absorbed into modern art so that the value of traditional art is not completely eroded. This research uses Spradley's qualitative research method or ethnographic qualitative research with the aim of systematically describing deeper cultural characteristics. This research produces a description of the characteristics of traditional culture contained in several traditional arts and crafts spread across Indonesia, each region has cultural characteristics that are different from other regions which are influenced by several diverse factors. The characteristics of each artistic value are maintained and absorbed into modern art for maintained and taught in the world of education so that art saviors are born who are able to transform traditional arts into modern artistic values. As art saviors, artists need awareness of a sense of "nationalism" in each of them which is obtained through an understanding of these traditional arts.Keywords: high art, education, culture, nationalism. AbstrakKesenian tradisional yang memiliki nilai seni tinggi harus selalu dilestarikan dari kepunahan. Untuk mempertahankan popularitas seni tradisional di Indonesia, diperlukan seniman, guru, dan masyarakat yang memahaminya secara mendalam. Setiap seniman seni rupa, guru dan masyarakat harus memiliki rasa nasionalisme terhadap seni tradisional agar mampu menjaga dan menjadi benteng kesenian tradisional itu sendiri. Penelitian ini bertujuan untuk menemukan kembali nilai nilai kebudayaan tradisional yang tersebar di dibeberapa daerah di Indonesia dengan harapan dapat dilakukan penyerapan kedalam seni modern agar nilai dari kesenian tradisional tidak terkikis sepenuhnya. Penelitian ini menggunakan metode penelitian kualitatif Spradley atau penelitian kualitatif etnografi dengan tujuan mendeskripsikan karakteristik kultural lebih mendalam secara sistematis. Penelitian ini menghasilkan deskripsi karakteristik kebudayaan tardisional yang terkandung dari beberapa kerajinan seni tradisional yang tersebar di wilayah Indonesia, setiap daerah memiliki karakterstik kebudayaan yang berbeda dari daerah lain yang dipengaruhi oleh beberapa factor yang beragam, Karakteristik dari setiap nilai kesenian dipertahankan dan diserap kedalam kesenian modern untuk dipertahankan dan diajarkan dalam dunia Pendidikan agar terlahir penyelamat kesenian yang mampu melakukan transformasi seni tradisional menjadi nilai seni modern. Sebagai penyelamat seni, seniman membutuhkan kesadaran akan rasa “Nasionalisme” pada diri masing-masing yang diperoleh melalu pemahaman akan kesenian tradisional tersebut.Kata Kunci: seni tinggi, pendidikan, budaya, nasionalisme. Authors:Budiwirman : Universitas Negeri PadangSyeilendra : Universitas Negeri PadangAry Ramadhan : Universitas Negeri PadangSyafei : Universitas Negeri Padang References:Yoeti, O. K. (1997): Perencanaan dan Pengembangan Pariwisata.Jakarta: Pradnya Paramita.Elfachmi, A. K. (2015). Pengantar Pendidikan. Jakarta: PT Gelora Aksara Pratama.Arya Pageh, W. (2018). E-PROCEEDING The Phenomenon Of Shafe and Aesthetics Of Balinese Wayang and Cartoon Bog Bog on Bog Bog Bali Cartoon Magazine Vol. 09 Year 2010-2011.Banoe, P. (2003). Kamus Musik. Yokyakarta: Kanisius.Bentley, R. A., & O'Brien, M. J. (2017). The Acceleration of Cultural Change. From Ancestors to Algorithms: MIT Press.Berghaus, G. (1996). Futurism and politics: between anarchist rebellion and fascist reaction, 1909-1944. Berghahn Books.Brumm, A., Oktaviana, A. A., Burhan, B., Hakim, B., Lebe, R., Zhao, J. X., ... & Aubert, M. (2021). Oldest cave art found in Sulawesi. Science Advances, 7(3), eabd4648.Bublitz, M. G., Rank-Christman, T., Cian, L., Cortada, X., Madzharov, A., Patrick, V. M., ... & Townsend, C. (2019). Collaborative art: A transformational force within communities. Journal of the Association for Consumer Research, 4(4), 313-331.Budiwirman, B. (2018). Minangkabau Songket As a Fine Art Study. Padang: Blessing Prima.Caturwati, E. (2008). Tradisi Sebagai Tumpuan Kreatifitas Seni. Bandung: Penertbit Sunan STSI Pres Bandung.Cleaver, D. G. (1967). Linda Nochlin, Impressionism and Post-Impressionism 1874–1904, 222 pp. Realism and Tradition in Art 1848–1900, 189 pp: Englewood Cliffs, NJ: Prentice-Hall, Inc., 1966 (Sources and Documents in the History of Art series) $2.95 (paperbound).Deswarni, D., & Budiwirman, B. (2019). Meningkatkan Kemampuan Siswa Membaca Notasi Musik dengan Menggunakan Metode Demonstrasi dalam Pembelajaran Seni Musik. Gorga: Jurnal Seni Rupa, 8(2), 374-377.Dibia, I. W., & Ballinger, R. (2012). Balinese Dance, Drama & Music: A Guide to the Performing Arts of Bali. Tuttle Publishing.Graburn, N. H. (2021). Introduction: Arts of the fourth world Ethnic and Tourist Arts (pp. 1- 32): University of California Press.Hasbullah, H. (2009). Dasar-Dasar Ilmu Pendidikan. Jakarta: Raja Grafindo Persada.Hanurawan, F. (2016). Metode Penelitian Kualitatif Untuk Ilmu Psikologi. Jakarta: Raja Grafindo Persada.Heristian, M., Efi, A., & Budiwirman, B. (2022).Mengembangkan Karakter AnakMelalui Pembelajaran Seni Budaya. Gorga: Jurnal Seni Rupa, 11(2), 410-416.Heristian, M., Efi, A., & Budiwirman. Mengembangkan Karakter Anak Melalui Pembelajaran Seni Budaya. Gorga: Jurnal Seni Rupa, 11(2), 410-416.Huhmarniemi, M., & Jokela, T. (2020). Arctic arts with pride: Discourses on Arctic arts, culture and sustainability. Sustainability, 12(2), 604.Illahi, Mohammad Takdir. 2012. Pembelajaran Discovery Strategy dan Mental Vocational Skill. Jogjakarta: Diva Press.Ismail, D. E., Nggilu, N. M., & Tome, A. H. (2019). The Urgency of Gorontalo Traditional Cultural Regulation Expression as a Form of Legal Protection for National Culture: ICIDS.Jamalus. 1988. Panduan Pengajaran Buku Pengajaran Musik Melalui Pengalaman Musik. Jakarta: Proyek Pengembangan Lembaga Pendidikan.Johnson, R. B., & Christensen, L. (2019). Educational research: Quantitative, qualitative, and mixed approaches: Sage publications.Metusala, D., Lestari, D. A., DAMAIYANI, J., MAS’UDAH, S., & SETYAWAN, H. (2020). The identification of plant reliefs in the Lalitavistara story of Borobudur temple, Central Java, Indonesia. Biodiversitas Journal of Biological Diversity, 21(5).Muda, K. T., & Susanti, D. (2020). Keterancaman Lukisan Dinding Gua Prasejarah Bulu Sipong I Kabupaten Pangkep Sulawesi Selatan (Prehistoric Cave Paintings of Bulu Sipong I Kabupaten Pangkep South Sulawesi Threatened). Asian Journal of Environment, History and Heritage, 4(2).Nasrudin, N. (2017). Membaca dan menafsirkan temuan gambar Prasejarah di Pulau Misool Raja Ampat, Papua Barat. Berkala Arkeologi Sangkhakala, 18(2), 150-168.Nuruddin, A. F. M. r., Wirawan, P. E., Pantiyasa, I. W., Semara, I. M. T., & Estikowati, F. E. A. S. (2020). Cultural Heritage Tourism in Indonesia Potential of “Gunung Gangsir Temple” as a Tourist Attraction. Systematic Reviews in Pharmacy, 11(12), 283-289.O'Brien, D. (2018). Cubism: Art and Philosophy. ESPES, 7(1), 30-37.Park, S., Hwang, D., Lee, W. S., & Heo, J. (2020). Influence of nostalgia on authenticity, satisfaction, and revisit intention: The case of Jidong mural alley in Korea. International Journal of Hospitality & Tourism Administration, 21(4), 440-455.Pujiono, B., Prilosadoso, B., & Supeni, S. Alternative Media for the Preservation of Traditional ARTS Through Collaboration Pop Art Style Wayang Pacitan Beber. International Journal of Social Sciences and Humanities, 4(3), 151-159.Putra, I. D., & Abdullah, S. (2019). Diversity of Cultural Elements at The Reliefs of Pura Desa Lan Puseh in Sudaji Village, Northern Bali. Paper presented at the 5th Bandung Creative Movement International Conference on Creative Industries 2018 (5th BCM 2018).Putra, I. D. A. D. (2018). Kamasan Puppet Painting, Balinese Traditional Comics. Bandung Creative Movement (BCM) Journal, 4(1).Putra, I. D. A. D., & Abdullah, S. (2020). Early Symptoms of Modernism in Traditional Balinese Painting Began in Northern Bali. Idealogy, 5(2), 55-70.Rampley, M. (2021). 7 Readings of Modern Art: Historicism, Impressionism, Expressionism The Vienna School of Art History (pp. 141-165): Penn State University Press.Naufal, R. (2014) Pertunjukan Gendreh Pada Acara Hiburan di Kampung Cikadu Indah Kecamatan Panimbang Kabupaten Pandeglang Banten. UPI.Schulz, K., & Hayn-Leichsenring, G. U. (2017). Face attractiveness versus artistic beauty in art portraits: a behavioral study. Frontiers in psychology, 8, 2254.Sedyawati, E. (1995). Kajian Sejarah Kesenian. Jakarta: Dirjen Kebudayaan.Setiawan, A., & Handojo, A. (2017). Indonesian culture learning application based on android. Petra Christian University.Slataper, S. (2020). Futurism My Karst and My City and Other Essays (pp. 102-105): University of Toronto Press.Smith, A. (2002). Fauvism and Cultural Nationalism. Interventions, 4(1), 35-52.Soedjono, S. (2019). Fotografi Surealisme Visualisasi Estetis Citra Fantasi Imajinasi. Rekam: Jurnal Fotografi, Televisi, Animasi, 15(1), 1-12. Tacon, P. S. (2019). Connecting to the Ancestors: why rock art is important for Indigenous Australians and their well-being. Rock Art Research: The Journal of the Australian Rock Art Research Association (AURA), 36(1), 5-14.Thom, M. (2017). Arts entrepreneurship education in the UK and Germany: An empirical survey among lecturers in fine art. [Article]. Education and Training, 59(4), 406-426. doi: 10.1108/et-05-2016-0089.Thosibo, A., Soekamto, N., Duli, A., & Mulyadi, Y. (2019). Broken painting in the prehistoric cave and chemical content of paint used in Maros Regency, South Sulawesi. Paper presented at the Journal of Physics: Conference Series.Tompkins Lewis, M. (2007). Critical Readings in Impressionism and Post-Impressionism: An Anthology: University of California Press.Vuk, S., & Bosnar, M. (2021). Process in contemporary visual art as a paradigm shift in the visual art education: Perspective of creativity. [Article]. Creativity Studies, 14(1), 99- 111. doi: 10.3846/cs.2021.12632.
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Font‐Navarrete, David. "Trapido, Joe. Breaking rocks: music, ideology and economic collapse from Paris to Kinshasa. x, 259 pp., bibliogr. Oxford, New York: Berghahn Books, 2016. £99.00 (cloth)." Journal of the Royal Anthropological Institute 26, no. 2 (May 18, 2020): 481–82. http://dx.doi.org/10.1111/1467-9655.13303.

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Michaelson, Christopher. "How a catchy bass line might someday resonate beyond my business ethics classroom: Rock music in management learning." Management Learning, November 5, 2020, 135050762096950. http://dx.doi.org/10.1177/1350507620969504.

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Business ethics is one of the “unsettled humanities” in a management curriculum that tends to value instrumental and measurable goods. However, the value of business ethics may not be apparent to students until they experience unpredictable challenges to their ethical values at work long after they have left the management classroom. This essay traces my journey to using music – particularly, British rock songs – to reinforce learning and retention of the essential feelings and ideas in my students’ learning experience. It draws upon contrasting theories of ethical and economic value, the role of narrative in ethical theory and pedagogy, and the associative powers of music to show how the lyrics and music of songs might help classroom learning resonate later in life. In doing so, the essay shows how the songs of rebellious rock musicians might unsettle stereotypical conceptions of business and resettle appreciation for the value of the arts and humanities in life and work.
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None, Alex van der Hulst. "Oeioei you just have to listen : Rock criticism in Hitweek. A categorization model for evaluation domains in rock music." Journal of European Periodical Studies, June 23, 2022. http://dx.doi.org/10.21825/jeps.81952.

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Анотація:
Rock criticism plays an important role in the formation of rock music as a cultural field in the 1960s. Criticism provides legitimization of taste, canonization and consecration. Nevertheless, the arguments and evaluations within rock criticism have been marginally studied, if at all in the Netherlands. Especially when you compare how literary criticism in its turn is studied as part of Dutch literary theory (see among others Van Rees 1985, Janssen 1994, and Van Dijk 2006). Rock criticism is mostly studied in cultural and music sociology. This research focuses on rock criticism as part of a cultural field (Lindberg et al. 2005). Within the humanities, the study of rock criticism offers an opportunity to map out which arguments are used in criticism and how they are applied. In research into literary criticism, Mooij, Boonstra, Praamstra, and, following them, Op de Beek and Linders, among others, categorize evaluative statements by critics. I will elaborate on their work in the categorisation of evaluative statements by rock critics. In this article, the categorization model of Op de Beek and Linders is applied and adapted to rock criticism. The corpus of this paper is the archive of Hitweek (1965). A Dutch magazine that appears weekly between 1965 and 1969 (in approximately 190 editions) and pays ample attention to Dutch rock music as part of youth culture. Hitweek is the first critical music magazine for rock music in the Netherlands and is therefore important for the formation of the cultural field of rock music in the Netherlands. For this study, the evaluative statements in the reviews of singles and albums by Dutch bands were examined. The statements are categorized and grouped to provide a picture of what criteria the reviewers of Hitweek used and how the model can help determine these criteria. This article is one of the few studies into evaluation criteria within Dutch rock criticism. For the time being, it is the only research into the evaluation criteria in Hitweek.
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