“Like Some Cat from Japan”: Sukita Masayoshi’s Photographs of David Bowie as Japan’s First Appearance in the History of Rock Music

2021 ◽  
pp. 123-144
Author(s):  
Yuki Gennaka
Keyword(s):  
Rock Music ◽  
History Of

scholarly journals Formal Functions of Metric Dissonance in Rock Music

2014 ◽  
Vol 20 (2) ◽  
Author(s):  
Nicole Biamonte
Keyword(s):  
Cross Section ◽  
Rock Music ◽  
Phrase Structure ◽  
Comparative Analyses ◽  
Metric Dissonance ◽  
Corpus Studies ◽  
History Of

This article explores the interactions of metric dissonance with phrase structure and form in rock music, offers categorization schemes for common formal functions of metric dissonance, and presents several corpus studies of metric dissonance in the works of single artists and bands as well as in a cross-section of rock songs. These data allow for comparative analyses of the metric profile of a given artist or band, suggest genre correlations with particular metric patterns, and demonstrate a trend of increasing metric dissonance throughout the history of rock.

scholarly journals Features of positioning of German university libraries on official websites

2021 ◽  
pp. 43-52
Author(s):  
N. Khymytsia ◽  
M. Kuchma
Keyword(s):  
Rock Music ◽  
Music Programs ◽  
University Libraries ◽  
Sound Recordings ◽  
Cultural Phenomenon ◽  
Creative Music ◽  
History Of ◽  
Historical Phenomenon ◽  
First Time

The problem of space music as a special cultural phenomenon requires scientific understanding. The purpose of the article is to study the features of the emergence and development of space rock as a specific trend in modern popular culture using the history of the “HAWKWIND” group as an example. The chronology of sound recordings of the “HAWKWIND” group as one of the founders of the “Space Rock Music” is established. The role of Dave Broсk, Bob Kalvert and other group participants in the creation of creative music programs is noted. It is proved that these musicians are the principles of the historical phenomenon, which received popularity as “Space Rock”. For the first time, the analysis of “HAWKWIND” sound documents through the prism of the history of space music development has been proposed.

scholarly journals The Politics of Rammstein’s Sound

2021 ◽  
Vol 33 (2) ◽  
pp. 51-76
Author(s):  
Jan-Peter Herbst
Keyword(s):  
Rock Music ◽  
German Reunification ◽  
Pop Music ◽  
Fine Line ◽  
German Identity ◽  
History Of ◽  
Music Market ◽  
To Come

Germany’s premier rock music export Rammstein has been controversial since its formation in 1994. This article analyzes Rammstein’s sonic signature from the perspective of the “art of record production.” It decodes the politics of Rammstein’s sound, which is inextricably linked to the exaggeration of German attributes and the associations attached to them. The findings suggest that although Rammstein productions emphasize some specific German stereotypes in their sound, their overall aesthetic is international. This carefully crafted fine line between exotic otherness and conformity to pop standards has made Rammstein successful on the global pop music market for more than two decades. The production aesthetic must be understood against the background of the band’s experience of German reunification. Rammstein were founded as a means for the band members to come to terms with their new “German” identity. Initially, the band dealt with the shock of reunification and the realities of Western capitalist societies. Later the band pursued two further goals: to improve the history of their country in foreign perception and to help the Germans make peace with their nation’s past. These goals are achieved by adopting strategies of industrial music for their course, such as provocation, ambiguity, contrast, recontextualization, and humor.

scholarly journals Ivan Brkljačić: Love!: Saxophone concerto

New Sound ◽  
2020 ◽  
pp. 65-75
Author(s):  
Asja Radonjić
Keyword(s):  
Rock Music ◽  
Symphony Orchestra ◽  
Musical Language ◽  
Moving Force ◽  
History Of ◽  
Orchestral Work ◽  
Creative Life

The text examines Ivan Brkljačić's most recent orchestral work entitled: Love!-Saxophone Concerto, composed in 2018 as commissioned by the Belgrade Philharmonic. Love! was chosen as a universal theme, but also as the moving force behind the composer's personal and creative life. The composition corresponds to the stylistic expression that is characteristic of Brkljačić. His contemporary musical language is complemented by his own quotes and unequivocal references to popular, primarily rock music, but also to pop, jazz, and other genres that have formed his artistic persona. This work will remain chronicled as the first performed concert for saxophone and symphony orchestra in the history of Serbian music.

scholarly journals Link Wray

2021 ◽  
Author(s):  
David Grant
Keyword(s):  
Native American ◽  
Physical Disability ◽  
Rock Music ◽  
Audio File ◽  
Native American Ancestry ◽  
History Of ◽  
Rock N Roll

This piece focuses on the musical and genre innovations of early rock n' roll guitarist, Link Wray. Given his Native American ancestry and physical disability, Wray is a difficult figure to place, though his material and embodied methods of making music prefigured other, more famous artists. The audio file reflecting on Wray suggests a more proper scope of his influence in an attempt to decolonize both the history of rock music as well as methods of multimodal and sound composition.

Dylan Goes Electric

2021 ◽  
Vol 33 (2) ◽  
pp. 31-50
Author(s):  
Kathryn Lofton
Keyword(s):  
Popular Music ◽  
Critical Analysis ◽  
Rock Music ◽  
Electric Guitar ◽  
Popular Music Studies ◽  
History Of ◽  
The Moment

Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epochal moments become transforming symbols of divestment; here, a commitment writ into rock criticism as one in which rock emerged by giving up something that had been holding it back. Through a study of this 1965 moment, as well as the history of electrification that preceded it and its subsequent commentarial reception, the unreflective secular of rock criticism is exposed.

A Brief History of Jews and Garlic

2020 ◽  
pp. 147-156
Author(s):  
Jordan D. Rosenblum
Keyword(s):  
Rock Music ◽  
Food Studies ◽  
Canterbury Tales ◽  
Self And Other ◽  
History Of

This chapter investigates the historical association between Jews and garlic. In the process, it explores how garlic functions both internally (by Jews) and externally (by non-Jews) as a symbol that represents Self and Other; or, in the terminology favored in anthropology and food studies, how garlic operates as a metonym for Jews. In doing so, it references a wide variety of sources, including biblical and rabbinic texts, Chaucer’s Canterbury Tales, vampire lore, and 1960s rock music.

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