scholarly journals Examining rhythmic and metric practices in Led Zeppelin’s musical style

Popular Music ◽  
2007 ◽  
Vol 27 (1) ◽  
pp. 53-76 ◽  
Author(s):  
JOHN BRACKETT
Keyword(s):  
Musical Style ◽  
Comparative Analyses ◽  
Unique Style ◽  
Musical Genres ◽  
Individual Style ◽  
Led Zeppelin

AbstractIn this essay, I examine how aspects of rhythm and metre play a fundamental role in shaping and defining Led Zeppelin’s musical style. At the same time, I will show how Led Zeppelin was able to modify, manipulate, and develop pre-existing musical models and forms through various rhythmic and metric strategies. Comparative analyses will be used in an effort to show how Led Zeppelin’s flexible conception of rhythm and metre enabled the band to put their own stylistic ‘stamp’ on (i) specific musical genres (‘The Crunge’ and the song’s relation to James Brown-style funk), (ii) their riff constructions (‘Black Dog’ in relation to Fleetwood Mac’s ‘Oh Well’), and (iii) their cover versions (‘Dazed and Confused’). Drawing upon my analytical points, I re-visit the complex issues that persist regarding the possibility that Led Zeppelin even has an ‘original’ or ‘unique’ style given their often overt reliance upon earlier musical models and forms. Therefore, in my conclusion, I argue that the development of any artist or group’s individual style necessarily involves the ability to assimilate and transform pre-existing musical features – features such as rhythm and metre – in novel ways and where issues relating to musical style intersect with influence.

scholarly journals Music Genre Classification Using Deep Learning Techniques

2021 ◽  
Vol 9 (VI) ◽  
pp. 4157-4160
Author(s):  
M.K.N. Haq
Keyword(s):  
Deep Learning ◽  
Learning Algorithm ◽  
Art Music ◽  
Musical Form ◽  
Musical Style ◽  
Religious Music ◽  
Music Genres ◽  
Deep Learning Algorithm ◽  
Music Genre ◽  
Musical Genres

Music genre labels are useful to organize various songs, albums, and artists into broader groups that share related musical genres such as similar sound etc. A music genre is a conventional group it helps us to identify some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although this terms can be used as viceversa. Music can be divided into genres in varying ways such as into popular music and art music,hip hop music or religious music and secular music. The artistic nature of music means that these classifications are often biased and notorious and some genres may overlap. We will classify the various music genres by using deep learning algorithm. We will train the model and by using various music genres of test dataset we will predict the specific music genre.

The Future is Graphic: Animated notation for contemporary practice

2020 ◽  
Vol 25 (2) ◽  
pp. 187-197
Author(s):  
Cat Hope
Keyword(s):  
Electronic Music ◽  
New Music ◽  
Music Notation ◽  
Musical Style ◽  
Music Practice ◽  
Acoustic Instruments ◽  
Animated Notation ◽  
Musical Genres ◽  
Contemporary Practice ◽  
Compositional Approaches

A growing number of musicians are recognising the importance of re-thinking notation and its capacity to support contemporary practice. New music is increasingly more collaborative and polystylistic, engaging a greater range of sounds from both acoustic and electronic instruments. Contemporary compositional approaches combine composition, improvisation, found sounds, production and multimedia elements, but common practice music notation has not evolved to reflect these developments. While traditional notations remain the most effective way to communicate information about tempered harmony and the subdivision of metre for acoustic instruments, graphic and animated notations may provide an opportunity for the representation and communication of electronic music. If there is a future for notating electronic music, the micro-tonality, interactivity, non-linear structures, improvisation, aleatoricism and lack of conventional rhythmic structures that are features of it will not be facilitated by common practice notation. This article proposes that graphic and animated notations do have this capacity to serve electronic music, and music that combines electronic and acoustic instruments, as they enable increased input from performers from any musical style, reflect the collaborative practices that are a signpost of current music practice. This article examines some of the ways digitally rendered graphic and animated notations can represent contemporary electronic music-making and foster collaboration between musicians and composers of different musical genres, integrating electronic and acoustic practices.

Torquato Tasso and Lighter Musical Genres: Canzonetta Settings of the Rime

2012 ◽  
Vol 29 (4) ◽  
pp. 385-421
Author(s):  
Emiliano Ricciardi
Keyword(s):  
Sixteenth Century ◽  
Substantial Contribution ◽  
Torquato Tasso ◽  
Musical Style ◽  
Hybrid Genre ◽  
Musical Genres ◽  
Musical Styles

Scholars of the madrigal have often emphasized Torquato Tasso’s role in the emergence of a serious musical manner that differed sharply from the widespread canzonetta style of the late sixteenth and early seventeenth centuries. This emphasis is grounded in Tasso’s endorsement of musical gravitas in the dialogue La Cavaletta from the mid-1580s, as well as in some settings of Gerusalemme liberata, the musical style of which matched the heroic tone of the poetry. Tasso, however, produced many poems that were suitable to lighter musical styles. In particular, he wrote several short strophic compositions of light tone, that is, canzonetta poems. Numerous composers set these as such or as canzonetta madrigals, the hybrid genre that became popular in the late sixteenth century. This poetic-musical repertoire counters Tasso’s and scholars’ emphasis on gravitas and prompts a reconsideration of his impact on music that takes into greater account his substantial contribution to lighter genres.

Giannis Tatasopoulos (1928–2001)

2018 ◽  
pp. 411-414
Author(s):  
Tina Bucuvalas
Keyword(s):  
The 1950S ◽  
Unique Style ◽  
Musical Genres ◽  
The U.S

Giannis Tatasopoulos, considered the finest bouzouki player of his generation in America, developed a unique style distinguished by remarkable dexterity, phrasing, and instrumental tone. He also was a leader in the exploration of different musical genres with the bouzouki, as well as a composer, songwriter, and vocalist. Born in Athens of parents from Constantinople and southern Albania, he studied and played with most of the great Greek bouzouki players of the 1940s and 1950s before settling in the U.S. in the 1950s.

Post-imperialism, imaginary geography and the women of Led Zeppelin's IV

Popular Music ◽  
2017 ◽  
Vol 36 (3) ◽  
pp. 410-426 ◽  
Author(s):  
Erin Sweeney Smith
Keyword(s):  
Popular Music ◽  
Women's Roles ◽  
Political Climate ◽  
Musical Style ◽  
Cultural Attitudes ◽  
The Social ◽  
Women’S Roles ◽  
Music Study ◽  
Led Zeppelin

AbstractLed Zeppelin have long been hailed as the ambassadors of cock rock. Yet, the band's fourth album – the commercial behemoth otherwise known as IV – features collaborations with two women: Sandy Denny's vocal contributions to ‘The Battle of Evermore’ and Memphis Minnie's co-songwriting credit on ‘When the Levee Breaks’. The two tracks feature landscapes dominated by powerful female forces via Denny's Queen of Light character and her counterpart embodied in Memphis Minnie's dark floodwaters. Through an analysis of both songs’ feminised soundscapes, I explore the links between Zeppelin's musical style and the social and political climate of 1970s post-imperial Britain. Investigation into these women's roles not only fills a gap in Led Zeppelin research, but also allows for a wider consideration of the connection between gender and representations of landscape as an important component for popular music study, particularly in terms of the cultural attitudes and politics of a post-imperial nation.

Music Genres

2012 ◽  
Author(s):  
Jennifer C. Lena
Keyword(s):  
Twentieth Century ◽  
Contemporary Music ◽  
American Music ◽  
Classification Systems ◽  
Musical Style ◽  
Music Genres ◽  
The Common ◽  
Similarities And Differences ◽  
Social Organizational ◽  
Musical Genres

This chapter first sets out book's purpose, which is to study the ideological, social, organizational, and symbolic attributes of twentieth-century American music. Three questions guide the investigation: (1) What are the common economic, organizational, ideological, and aesthetic traits among contemporary music genres? (2) Do music genres follow any patterns in their development, and if so, what explains their similarities and differences? and (3) Using contemporary American musical genres as a point of reference, how can we discover new genre forms and trajectories? It explores these questions in music in order to offer a comprehensive view into both classificatory schema employed to organize sound and sociocultural classification systems in general. The remainder of the chapter discusses the formal characteristics of twelve attributes found across styles of music. These organizational, economic, interpersonal, and aesthetic attributes are used to differentiate one musical style from another, and a given style from one moment in time to the next. Drawing from an inductive coding of histories of sixty American market-based musical forms from the twentieth century, it demonstrates patterns of attributes.

scholarly journals Peculiarities of shaping of architectural moulds and profiles in St. Petersburg architecture of the XVIII century

2020 ◽  
Vol 775 (1) ◽  
pp. 012078
Author(s):  
E R Vozniak
Keyword(s):  
Usual Practice ◽  
Xviii Century ◽  
Architectural Elements ◽  
Regional Transformation ◽  
Western European ◽  
Characteristic Features ◽  
Unique Style ◽  
Individual Style ◽  
European Architecture

Abstract The article discusses the formation of moulds and string cornices in the St. Petersburg architecture of the XVIII century. Significant distinctions of Russian architectural moulds in comparison with their analogues existent in classical orders of Western European architecture are revealed. The causes lying underneath of the regional transformation of architectural elements are analyzed. The examples of designing profiles in each individual style period of the XVIII century are provided. It has been found out that the whole first half of the XVIII century is characterized by seamless profiles without complex intercalated moulds, such as dentils, modillions, and consoles. The inherent features of the Elizabethan Baroque are unique moulds with an upper notch. The period of Early Classicism is characterized with the usage of both Baroque and classical moulds in the style of J. Vignola. Strict classicism was the period when architects used moulds in the style of A. Palladio and the usual practice was application of Greek moulds. On the basis of the analysis carried out in the research, characteristic features and dating elements of each stylistic period are determined, and the elements inherent for the unique style of architects who created their works during the specified period are described.

scholarly journals http://inion.ru/site/assets/files/6134/integratciia-i-assimiliatciia-muzykalnykh-komponentov-dzhazovoi-i-akademicheskoi-muzyki.pdf

2021 ◽  
pp. 79-89
Author(s):  
Valeriy Bukreev
Keyword(s):  
United States ◽  
20Th Century ◽  
The United States ◽  
Basic Material ◽  
Early 20Th Century ◽  
Musical Language ◽  
The South ◽  
Musical Style ◽  
Musical Genres ◽  
Almost All

The article examines the evolution of thinking of American and European composers of the early 20th century, the expansion of their musical horizons in connection with the birth and emergence of Early Jazz, a new rhythmic music in the South of the United States. Almost all famous composers of the beginning of the century, to one degree or another, turned to jazz, each in his own way refracting new rhythms and harmonies in their work. In this process, the initial, basic material was professional composer compositions, and jazz contributed to assimilation. The article examines experiments of interest from the perspective of fusion of musical genres, synthesis of elements of the musical language, which later anticipated the birth of the unique musical style «Fusion».

Development of a Rapid Survey Method of Sampling and Analysis for Asbestos in Ambient Air

1972 ◽  
Vol 30 ◽  
pp. 630-631 ◽  
Author(s):  
R. E. Heffelfinger ◽  
C. W. Melton ◽  
D. L. Kiefer ◽  
W. M. Henry ◽  
R. J. Thompson
Keyword(s):  
Neutron Activation ◽  
Ambient Air ◽  
Survey Method ◽  
Potential Hazard ◽  
Transmission Microscopy ◽  
Comparative Analyses ◽  
Asbestos Fibers ◽  
Controlled Conditions ◽  
Unequivocal Identification ◽  
Identification And Quantification

A methodology has been developed and demonstrated which is capable of determining total amounts of asbestos fibers and fibrils in air ranging from as low as fractional nanograms per cubic meter (ng/m3) of air to several micrograms/m3. The method involves the collection of samples on an absolute filter and provides an unequivocal identification and quantification of the total asbestos contents including fibrils in the collected samples.The developed method depends on the trituration under controlled conditions to reduce the fibers to fibrils, separation of the asbestos fibrils from other collected air particulates (beneficiation), and the use of transmission microscopy for identification and quantification. Its validity has been tested by comparative analyses by neutron activation techniques. It can supply the data needed to set emissions criteria and to serve as a basis for assessing the potential hazard for asbestos pollution to the populace.

Sign in / Sign up

Export Citation Format

Share Document