Popular Rock MusicFavourite Rock Music
Rock Pop Music Descriptions
We are working on giving you more possibilities to accept cookies..... In the meantime, you can choose to accept all or only the cookies required to operate the website. Rock & Roll and beats were the basis for pop rock in the 60s. Can be used to describe rock music that follows the classic "rock" format: drum, guitars, bass amps & singing, with easy to catch hookes /iffs, & singing.
Study popular music - Richard Middleton
cultural effects that explain its particular development and importance. Intimacy has increased during the twentieth century, especially from rock'n'roll. music and dance) promote an eroticism less phallic, more "full body", these are the most important..... Symphonic concerto, in Losst in Music: music, tradition and styles ..... SCEMERE, A., (1983), Some Institutions of Pop and Rock Music in Hungary, in "Popular Music", 3, pp. Mythos in Music, Mouton, The Hague.
It rocks. The Estetica and the Filofia - Guido Michelone
Rock. Ed la. Pedagogy. In short, popular music combines the most diverse trends and market forms and the consolidation of the consumption of the so-called youth cultures: from..... rock.... Faber, London 20013. HIGH DICK, subculture. Methuen, London 1979. HUBDIGE DICK, Light finding, Routledge, London 1988 .....
Sulla Popular Music, Armando, Roma 2004.
Rock, popular, legendary, advertising... o Popular music?
"Interviewer: Would you define the genre of music that plays as world music? Although Italy is a country that has done a certain amount of research in the field of popular music, the term is still an obscure entity in many ways, so scientists and simple fans continue to use very different definitions such as light, popular music, advertising, rock, popular music and so on, mistakenly thinking that they are essentially synonymous.
Cerchiamo ripercorrere the stages of the debate concept of popular music. As Dave Laing reminds us, the adjective "popular" and its English counterpart "popular" mean not only "by" people, but also "made for", "suitable for", "that people like". In Italy, on the other hand, "popular music" is understood mainly as music of oral tradition, folk music, generally as music that is somehow foreign (or considered as such) to the modern entertainment industry.
Consequently, for what the Anglo-Saxons call popular music in Italy, the most diverse and imaginative names have been sought, including serious proposals such as "mass music" and "music of the media", in recognition of the importance attached to media systems in the dissemination of such music that we are trying to define.
Suffice it to say that music occupies a prominent place in the medias (with the exception of the paper medias, which are not yet able to express themselves orally and wait for further technological innovations; and yet the fact remains that even in newspapers a lot of music is written) and therefore, since it is our culture, which is strongly influenced by the more or less direct effect of the medias, it occupies a prominent place in the life of each individual, whether he or she wants it or not.
Philip Tagg best expresses this situation by explaining that "non-verbal sound, including music, has a central position in industrial society". It follows that our culture, more and more saturated with sounds everywhere, is a culture that is certainly dominated by music. This is basically a characteristic aspect of the postmodern state, since the spread of music (generally any art and leisure) in pre-industrial societies is much smaller.
A contingency that Tagg sums up in exemplary fashion when he perhaps anxiously points out that his twelve-year-old daughter probably heard more music than her grandfather had ever heard in her entire existence. But this privileged position of music in our society does not correspond to what is assigned to their studies at school and university.
I do not only consider popular music, but all music that is often limited to classical music in studies and teaching, whereby in most cases there is a more or less conscious lack of effect with the advent of popular music. Of course, classical music should be illustrated and known by the same scholars of popular music, although it can only understand how it has strongly influenced European and North American musical culture, especially for the aesthetic confirmation of the dualism between melody and accompaniment, a common instrument that is fundamental to understanding the musical meaning of Haydn yesterday, of AC/DC today.
Let us repeat: From this point of view, Italy has done and is doing a lot by showing a critical and reflexive role at the forefront of popular musicology over the last fifty years. It remains the major obstacle to the acceptance of society, not only for the normative and semantic clarity of the concept of popular music (and perhaps also for its Italian translation, which is clearly accepted by the scientific-musical sector), but also for the need to emerge from the latent and often internalised musical racism for which this musical production is regarded as a light, commercial, ephemeral and non-artistic industrial product.
Popular music consists not only of songs, but how difficult it is to dismantle a commonplace that for decades has contributed to the spread of intellectuals and personalities of all kinds and degrees (and among them we cannot help but mention the most important of all: Adorno). Gianni Sibilla says it well when he remembers that "this music is not mentioned very much and especially not at all".
¿Ma cosa è allora la popular music? The result is definitions of normative (inferior music), negative (music that is not any other kind of music, be it traditional music or "serious" music), sociological (music that refers to a particular social group), technological-economic (music that is distributed through the media) and/or in a market.
Richard Middleton rightly states that each category is in itself inadequate and incomplete (sometimes even conceptually wrong), and focuses on the two most recent and discussed approaches to popular music: the first, positivist, would focus on the quantitative aspect of "popularity", with a particular emphasis on the music spread by the mass medias; the second, essentialist ontological, distinguishes between music produced from above or below, and examines the relationship between market, medium and popular cultural autonomy.
Middleton acknowledges that the second approach deserves more recognition, although it has some basic limitations, but in the end it rejects a rigid definition of popular music because "its content cannot be considered absolute". On the contrary, it recognizes the structural characteristics of popular music as a changing phenomenon in the entire field of music.
Middleton's conclusions can theoretically be shared, but we can reverse the problem by accepting not to put the concept of popular music on the last level, but at least to try to make it detailed for today. Sibilla recently returned to the subject, pointing out that in Italy the academic definition of popular music was mostly translated as "light music", an unacceptable definition for several reasons.
A limitation of the field that thus solves some of the fundamental problems of popular music and legitimizes the exclusion of previously born genres of rock'n'roll (including jazzy and basically classical, ethnic and traditional music as well as blues), but respect: not total exclusion, but only in the modes of production chronologically before the advent of rock'n'roll (whose date of birth is generally the early 1950s).
Insomma, i.e. doubbi rimangono and nonostante l'etichetta popular music, which has the possibility of posing the question of the terminological rimane aperta. Characters that have been repeated several times by scholars so that we can talk about popular music: