Garage rock bands: a future model for developing musical expertise?

2006 ◽  
Vol 24 (2) ◽  
pp. 119-125 ◽  
Author(s):  
Heidi Westerlund
Keyword(s):  
Musical Expertise ◽  
Rock Bands

Music and Memory: The Tlatelolco Refrain

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Josh Kun
Keyword(s):  
State Violence ◽  
First Century ◽  
Student Movements ◽  
Octavio Paz ◽  
Mexican History ◽  
The Past ◽  
Rock Bands ◽  
To Come ◽  
Musical Memory ◽  
A Current

Ever since the 1968 student movements and the events surrounding the Tlatelolco massacre, Mexico City rock bands have openly engaged with the intersection of music and memory. Their songs offer audiences a medium through which to come to terms with the events of the past as a means of praising a broken world, to borrow the poet Adam Zagajewski’s phrase. Contemporary songs such as Saúl Hernández’s “Fuerte” are a twenty-first-century voicing of the ceaseless revolutionary spirit that John Gibler has called “Mexico unconquered,” a current of rebellion and social hunger for justice that runs in the veins of Mexican history. They are the latest additions to what we might think about as “the Mexico unconquered songbook”: musical critiques of impunity and state violence that are rooted in the weaponry of memory, refusing to focus solely on the present and instead making connections with the political past. What Octavio Paz described as a “swash of blood” that swept across “the international subculture of the young” during the events in Tlatelolco Plaza on October 2, 1968, now becomes a refrain of musical memory and political consciousness that extends across eras and generations. That famous phrase of Paz’s is a reminder that these most recent Mexican musical interventions, these most recent formations of a Mexican subculture of the young, maintain a historically tested relationship to blood, death, loss, and violence.

scholarly journals Comparative Time Series Analysis of Perceptual Responses to Electroacoustic Music

2012 ◽  
Vol 29 (4) ◽  
pp. 359-375 ◽  
Author(s):  
Freya Bailes ◽  
Roger T. Dean
Keyword(s):  
Time Series ◽  
Sound Intensity ◽  
Electroacoustic Music ◽  
Affective Content ◽  
Musical Expertise ◽  
Perceived Change ◽  
Time Series Analyses ◽  
Time Perceptions ◽  
The Relationship ◽  
Acoustic Measure

this study investigates the relationship between acoustic patterns in contemporary electroacoustic compositions, and listeners' real-time perceptions of their structure and affective content. Thirty-two participants varying in musical expertise (nonmusicians, classical musicians, expert computer musicians) continuously rated the affect (arousal and valence) and structure (change in sound) they perceived in four compositions of approximately three minutes duration. Time series analyses tested the hypotheses that sound intensity influences listener perceptions of structure and arousal, and spectral flatness influences perceptions of structure and valence. Results suggest that intensity strongly influences perceived change in sound, and to a lesser extent listener perceptions of arousal. Spectral flatness measures were only weakly related to listener perceptions, and valence was not strongly shaped by either acoustic measure. Differences in response by composition and musical expertise suggest that, particularly with respect to the perception of valence, individual experience (familiarity and liking), and meaningful sound associations mediate perception.

Multidimensional scaling of emotional responses to music: The effect of musical expertise and of the duration of the excerpts

2005 ◽  
Vol 19 (8) ◽  
pp. 1113-1139 ◽  
Author(s):  
E. Bigand ◽  
S. Vieillard ◽  
F. Madurell ◽  
J. Marozeau ◽  
A. Dacquet
Keyword(s):  
Multidimensional Scaling ◽  
Emotional Responses ◽  
Musical Expertise

Musical expertise: The dynamic movement of the trombone slide

2020 ◽  
pp. 43-49
Author(s):  
Mark Mark Lammers ◽  
Lela June Stoner ◽  
Richard Fuller ◽  
Debra Allyn
Keyword(s):  
Musical Expertise ◽  
Dynamic Movement

scholarly journals Exposure impacts the pleasantness of consonance/dissonance but not its perceived tension

2019 ◽  
Author(s):  
Imre Lahdelma ◽  
Tuomas Eerola
Keyword(s):  
Empirical Studies ◽  
Pronounced Effect ◽  
Musical Expertise ◽  
Musical Context ◽  
Vital Factor ◽  
Consonance And Dissonance

The contrast between consonance and dissonance is a vital factor in making music emotionally meaningful. Consonance typically denotes perceived agreeableness and stability, while dissonance in turn disagreeableness and a need of resolution. The current research addresses the perception of consonance/dissonance in intervals and chords isolated from musical context. Experiment 1 explored the correlations between the seven most used concepts denoting consonance/dissonance across all the available (60) empirical studies published since 1883. The stimuli consisted of a representative continuum of consonance/dissonance. The results show that the concepts exhibit high correlations, albeit these are somewhat lower for non-musicians compared to musicians. In Experiment 2 the stimuli's cultural familiarity was divided into three levels, and the correlations between the pivotal concepts of Consonance, Tension, Harmoniousness, Pleasantness, and Preference were further examined. Familiarity affected the correlations drastically across both musicians and non-musicians, but in different ways. Tension maintained relatively high correlations with Consonance across musical expertise and familiarity levels. On the basis of the results a rigorous control for familiarity and musical expertise is recommended for all studies investigating the perception of consonance/dissonance. The findings help pinpoint how familiarity affects the perception of consonance/dissonance and demonstrates the pronounced effect of musical expertise on this.

scholarly journals Mental Control of Musical Imagery: Comparing Tonal and Song Stimuli

2019 ◽  
Author(s):  
Katherine Cotter ◽  
Paul Silvia
Keyword(s):  
Undergraduate Students ◽  
Stimulus Type ◽  
Auditory Imagery ◽  
Mental Control ◽  
Musical Imagery ◽  
Musical Expertise ◽  
Management Ability

Mental control of musical imagery is a complex but understudied process that consists of two components: initiation—whether the musical imagery experience began voluntarily or involuntarily—and management—whether instances of control occur after the experience has begun (e.g., changing the song). The present research examined these two components using 11 lab tasks measuring both initiation and management abilities in a sample of 203 undergraduate students. The tasks varied in stimuli composition: 7 tasks used tones and tonal sequences frequently used as stimuli in auditory imagery research, and 4 tasks used stimuli resembling the contents of everyday musical imagery (i.e., song excerpts). Initiation and management abilities were closely related, and people with greater musical expertise showed a smaller difference between initiation and management ability. Similarly, performance on tasks using tones or tonal sequences and tasks using song stimuli were closely related, and people didn’t differ in performance as a function of stimulus type. The present research demonstrates that people’s ability to initiate and to manage musical imagery are strongly linked and that people are equally good at controlling relatively simple musical imagery and imagery of well-known songs.

scholarly journals Cultural attributes of Russian rock: elitist or mass culture?

2021 ◽  
Vol 2 (8) ◽  
pp. 105-117
Author(s):  
Ma Weihong ◽  
Keyword(s):  
Popular Culture ◽  
Mass Culture ◽  
Political System ◽  
Modern World ◽  
The Public ◽  
Religious Issues ◽  
Rock Bands ◽  
The Difference ◽  
Rock N Roll ◽  
Cultural Niche

The article deals with identifying Russian rock culture as elitist or mass culture. The author characterizes the concepts of elitist and mass culture, explaining the difference between them, and examines the characteristics of Russian rock culture on the basis of this analysis. The author concludes that Russian rock culture is a kind of reconciliation of elite and mass culture: in the second half of the XX century the complexity of the Soviet political system and ideology determined the destiny and cultural attributes of Russian rock, making it a complex, multifaceted and eclectic phenomenon. Forced to survive, rock bands had to incorporate elements of popular music into their works and use mass media to attract the public. Having joined the ranks of commercial performances, rock 'n' roll gained more popularity, and gradually there appeared some signs of the rock culture decline. In the end, however, rock culture did not transform into mass culture, and Russian rock musicians and rock poets continued to play their music in search of a new cultural niche for themselves to express their critical attitude to reality, their denial and opposition to the processes of industrialization and urbanization, returning to the history and culture of the nation, paying attention to philosophical and religious issues and to the depth and completeness of poetic content, reconstructing Russian cultural memory, reflecting on the environmental situation in the modern world. Rock culture is still a culture of resistance, but as society continues to change, the form and content of resistance is also constantly changing, and it is because of this that rock culture has acquired a kind of humanistic foundation that is much deeper than that of popular culture, so ignoring the difference between rock culture and popular culture destroys the innate spirit and the essence of rock culture itself.

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