Campus Rock

2020 ◽  
Vol 32 (3) ◽  
pp. 51-72
Author(s):  
James Carter
Keyword(s):  
Popular Music ◽  
Liberal Arts ◽  
Rock Music ◽  
College Campuses ◽  
College Campus ◽  
Pop Music ◽  
Acid Rock ◽  
Radio Stations ◽  
The Sixties ◽  
The Relationship

During 1967-8, The Lovin’ Spoonful, The Animals, The Who, Richie Havens, Jefferson Airplane and the Iron Butterfly, performed in the gymnasium at the small, liberal arts Drew University in suburban New Jersey. Turns out, this experience was not unique to Drew. College campuses across the country were essential for the growth of popular music, and of rock music in particular in the mid- to late-sixties. The music industry took notice as booking agents, record shops, pop music promoters, radio stations, and industry magazines and newspapers all began to place more emphasis on the opportunities provided by the nation’s colleges. While we know a great deal about activism on college campuses during the sixties, we know little about that same environment and its relationship to the growth and development of rock culture. This essay will explore the relationship between the growth of rock culture, the college campus, and the broader sixties experience. The college campus proved crucial in the development of rock music as student tastes determined “rock culture.” Folk, pop, soul/R&B, folk rock, hard rock, and psychedelic/acid rock, thrived simultaneously on the college campus from 1967 to 1970, precisely the period of significant change in popular music.

Campus Rock

2020 ◽  
Vol 32 (3) ◽  
pp. 51-72
Author(s):  
James Carter
Keyword(s):  
Popular Music ◽  
Liberal Arts ◽  
Rock Music ◽  
College Campuses ◽  
College Campus ◽  
Pop Music ◽  
Acid Rock ◽  
Radio Stations ◽  
The Sixties ◽  
The Relationship

During 1967-8, The Lovin’ Spoonful, The Animals, The Who, Richie Havens, Jefferson Airplane and the Iron Butterfly, performed in the gymnasium at the small, liberal arts Drew University in suburban New Jersey. Turns out, this experience was not unique to Drew. College campuses across the country were essential for the growth of popular music, and of rock music in particular in the mid- to late-sixties. The music industry took notice as booking agents, record shops, pop music promoters, radio stations, and industry magazines and newspapers all began to place more emphasis on the opportunities provided by the nation’s colleges. While we know a great deal about activism on college campuses during the sixties, we know little about that same environment and its relationship to the growth and development of rock culture. This essay will explore the relationship between the growth of rock culture, the college campus, and the broader sixties experience. The college campus proved crucial in the development of rock music as student tastes determined “rock culture.” Folk, pop, soul/R&B, folk rock, hard rock, and psychedelic/acid rock, thrived simultaneously on the college campus from 1967 to 1970, precisely the period of significant change in popular music.

Fragments of a Queer Feminist Rock and Pop History in Vienna

2021 ◽  
Author(s):  
Magdalena Fürnkranz
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Electronic Music ◽  
Historical Development ◽  
Rock Music ◽  
Pop Music ◽  
Rock Band ◽  
Music Scenes ◽  
Music Scene ◽  
Rock N Roll

The historical development of Viennese rock and pop music started with rock ’n’ roll in the 1950s, continued with beat music and the “dialect wave” in the late 1960s, punk in the 1980s, the popular Viennese electronic music scene in the 1990s, and is currently enjoying a renaissance of the “dialect wave.” Artists like the Rosée Sisters, Austria’s first all-female rock band founded in 1962, Topsy Girl, A-Gen 53, or SV Damenkraft were active in local music scenes. In retrospect, they are considered as exceptions in the historiography of Austrian popular music. This chapter discusses several feminist and queer artists and collectives in Austria, their position in popular culture, and in historical and geographical contexts. The author concentrates primarily on all-female bands, LGBTIQ+ artists, and queerpop projects to illustrate diverse approaches to music, feminism, and their position within the pop and rock music scenes in Vienna.

The music industry, technology and utopia – an exchange between Marcus Breen and Eamonn Forde

Popular Music ◽  
2004 ◽  
Vol 23 (1) ◽  
pp. 79-89 ◽  
Author(s):  
MARCUS BREEN
Keyword(s):  
Social Movements ◽  
Popular Music ◽  
Cultural Production ◽  
Youth Culture ◽  
Music Industry ◽  
The State ◽  
Pop Music ◽  
Computer Mediated ◽  
The Sixties ◽  
Multiple Characteristics

A new struggle has emerged within popular music. This struggle is about technology and access to music through computer-mediated technology. Somewhat typical of the state of cultural things being more complex in their multiple articulations, this struggle runs in tandem with the historical struggle by youth for ‘their music’ against that of previous generations. The multiple characteristics of the struggle over cultural production, ownership and circulation represents a change from earlier days when pop music was articulated to youth culture and social movements, offering relatively direct relationships from one to another. (For example, ‘The Sixties’ became the shorthand reference for these cultural formations.) That relationship still exists, albeit in a self-conscious historical sense that requires continuous examination as it changes with the new generations of youth and the available technologies.

Popping the question: the function and effect of popular music in cinema

Popular Music ◽  
1999 ◽  
Vol 18 (3) ◽  
pp. 367-379 ◽  
Author(s):  
Hilary Lapedis
Keyword(s):  
Popular Music ◽  
Narrative Structure ◽  
Music Video ◽  
Pop Music ◽  
Conventional Practice ◽  
The Relationship ◽  
The Way

Claudia Gorbman, in her afterword to Unheard Melodies, looks forward to the ‘new’ phenomenon of the increased use of recorded popular music in the movies. She questions whether the contemporary use of popular music is essentially different from its use in the traditional Hollywood musical, wherein conventional practice permits a musical number to disrupt the narrative flow, and answers that ‘a hybrid is emerging, unlike diegetic music which is normally not listened to, and also not as focused as musical numbers issuing from the magic world of the musical’ (Gorbman 1987, p.162). Certainly, the music video, as Gorbman admits, in its ‘kaleidoscope of forms’ (ibid.) is changing the relationship between visuals and music, so that there is no longer a habitual hierarchy of sound supporting image, or vice versa. It is this shifting relationship and the way in which pop music specifically operates upon the narrative structure of cinema that I wish to explore here.

Neural activation of different music styles during emotion-evoking

2020 ◽  
pp. 030573562096826
Author(s):  
Ying Liu ◽  
Qingting Tang ◽  
Xingcong Zhao ◽  
Huan Lu ◽  
Guangjie Yuan ◽  
...  
Keyword(s):  
Rock Music ◽  
Classical Music ◽  
Superior Temporal Gyrus ◽  
Neural Correlates ◽  
Neural Activation ◽  
Pop Music ◽  
Neural Activities ◽  
Emotional Processes ◽  
The Relationship ◽  
The Brain

Music style is tightly connected with listeners’ emotional processes and neural activities. However, it remains unclear how the brain works when different music styles are processed emotionally. The current study analyzed the neural activation associated with five music styles during emotion-evoking. Twenty non-musicians participated in the functional magnetic resonance imaging (fMRI) scanning and the emotional ratings of pleasure and arousal evoked by pop, rock, jazz, folk, and classical music. Results showed that classical music was associated with the highest pleasure rating and deactivation of the corpus callosum. Rock music was associated with the highest arousal rating and deactivation of the cingulate gyrus. Pop music activated the bilateral supplementary motor areas (SMA) and the superior temporal gyrus (STG) with moderate pleasure and arousal. As the first fMRI experiment investigating the relationship between the music style and emotion, it provides neural correlates of different music styles during emotion-evoking.

Sampling sexuality: gender, technology and the body in dance music

Popular Music ◽  
1993 ◽  
Vol 12 (2) ◽  
pp. 155-176 ◽  
Author(s):  
Barbara Bradby
Keyword(s):  
Popular Music ◽  
Rock Music ◽  
Good Reason ◽  
Soap Opera ◽  
The Body ◽  
Pop Music ◽  
Audience Research ◽  
Popular Music Studies ◽  
Rock Bands ◽  
Considerable Work

Bayton (1992) is right to be preoccupied by the mutual blindness between feminism and popular music. For if pop music has been the twentieth-century cultural genre most centrally concerned with questions of sexuality, one would expect more feminist critique and engagement with it. It is undoubtedly true that feminists have often been suspicious of pop music as typifying everything that needs changing for girls in society (McRobbie 1978), and of rock music as a masculine culture that excludes women (Frith and McRobbie 1979). Conversely, those who wished to celebrate the political oppositionality of rock music have often had to draw an embarrassed veil around its sexual politics, and have had good reason to be wary of feminism's destructive potential. Nevertheless, Bayton's own bibliography shows the considerable work that has been done by feminists on popular music, and the problem is perhaps better seen as one of marginalisation of this work within both feminist theory and popular music studies. In addition, I would argue that the work of Radway (1987), Light (1984), Modleski (1984) and others, in ‘reclaiming’ the popular genres of romance reading and soap opera for women, does have parallels in popular music in the work of Greig (1989) and Bradby (1990) on girl-groups, or McRobbie on girls and dancing (1984). Cohen (1992) shows some of the mechanisms through which men exclude women from participation in rock bands, while Bayton's own study of women musicians parallels other sociological work on how women reshape work roles (1990). And the renewed interest in audience research in cultural studies has allowed a re-valorisation of girls' and women's experience as fans of popular music (Garratt 1984; Lewis 1992), and as creators of meaning in the music they listen to (Fiske 1989; Bradby 1990).

scholarly journals «She’s leaving home, bye bye». The Sixties, the Birth of the Teenagers and a New Generational Narration

2020 ◽  
Vol 7 (1) ◽  
pp. 31-40
Author(s):  
Federico Piseri
Keyword(s):  
Rock Music ◽  
The United States ◽  
Pop Music ◽  
Political Commitment ◽  
Generational Conflict ◽  
Mass Consumption ◽  
Social Patterns ◽  
The United Kingdom ◽  
The Sixties ◽  
Youth Subcultures

The article proposes a reading and interpretation of the generational conflict of the Sixties using rock music as its main source of investigation. Being halfway between mass consumption product and cultural product, the pop music of the time has significantly defined one of the generational narrations of the baby boomers, the counter-cultural one, which has become a generational myth, strong enough to darken other parallel narrations and annihilate those of the following generation. The lyrics of the songs, the musical scenes, the youth subcultures that sprung from them are analysed in their constant exchange with the youth of the time in the United Kingdom and in the United States. We can read in them the rapid changes that took a significant part of a generation from an empty aesthetic, according to the detractors, to the strong social and political commitment, imposing its will to emerge and to change the social patterns and first of all the bonds of the family defined in the first half of the twentieth century.

Music and Revolution in the Long 1960s

2017 ◽  
Vol 14 (3) ◽  
pp. 463-471
Author(s):  
ODED HEILBRONNER
Keyword(s):  
Popular Music ◽  
Rock Music ◽  
Recent Book ◽  
Musical Style ◽  
Protest Music ◽  
History Of ◽  
1960S And 1970S ◽  
The 1960S ◽  
The One ◽  
The Relationship

When discussing the relationship between popular music and social-political change in the long 1960s, historians and critics have tended to fluctuate between two opposing poles. On the one hand, there is Arthur Marwick's approach, echoed in Jon Savage's recent book 1966: The Year the Decade Exploded. In Marwick's cross-national survey, he examines social change in the West during the ‘Long Sixties’ (1958–72), when a ‘cultural revolution’ occurred in which protest music played a major role. On the other hand, there are Peter Doggett's and Dominic Sandbrook's observations that the top-selling albums of the 1960s and 1970s did not include some masterpiece by the Beatles, the Rolling Stones, Bob Dylan, David Bowie, Queen, or other leading figures in rock music, but rather the soundtrack of The Sound of Music. Sandbrook writes that it ‘projected a familiar, even conservative vision of the world, based on romantic love and family life. In a period of change it offered a sense of reassurance and stability, not only in its plot but also in its musical style . . . [T]hese were the values of millions . . . in the Swinging Sixties’. Doggett similarly points to the popularity of Julie Andrews and the soundtracks of Mary Poppins and The Sound of Music. These soundtracks ‘made no attempt to alter the culture or educate the listener’ he suggests, and that is why they have been relegated ‘to a footnote in the history of popular music’ even while being the top-selling records of 1965 and 1966.

Reflecting surfaces: the use of elements from Indian music in popular music and jazz

Popular Music ◽  
1988 ◽  
Vol 7 (2) ◽  
pp. 189-205 ◽  
Author(s):  
Gerry Farrell
Keyword(s):  
Popular Music ◽  
Classical Music ◽  
Indian Subcontinent ◽  
North India ◽  
Western Music ◽  
Pop Music ◽  
The World ◽  
The Sixties ◽  
Indian Music ◽  
Reflecting Surfaces

In this article I explore the manner in which elements from a non-Western music appear in pop music and jazz. The music under discussion is that of the Indian subcontinent and the classical music of North India in particular. The essay covers references to Indian music in pop, rock and jazz from the sixties to the present day but concentrates mainly on the sixties and seventies, and, in the world of pop, on the music of the Beatles. The influence of orientalism on Western music is not a recent phenomena, as Reck (1985) notes, but its appearance in pop during the sixties meant that it reached a larger audience than ever before.

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