The Space Between The Notes

Author: Sheila Whiteley
Editor: Routledge
ISBN: 1134916620
Size: 12,22 MB
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The Space Between the Notes examines a series of relationships central to sixties counter-culture: psychedelic coding and rock music, the Rolling Stones and Charles Manson, the Beatles and the `Summers of love', Jimi Hendrix and hallucinogenics, Pink Floyd and space rock. Sheila Whiteley combines musicology and socio-cultural analysis to illuminate this terrain, illustrating her argument with key recordings of the time: Cream's She Walks Like a Bearded Rainbow, Hendrix's Hey Joe, Pink Floyd's Set the Controls For the Heat of the Sun, The Move's I Can Hear the Grass Grow, among others. The appropriation of progressive rock by young urban dance bands in the 1990s make this study of sixties and seventies counter-culture a timely intervention. It will inform students of popular music and culture, and spark off recognition and interest from those that lived through the period as well as a new generation that draw inspiration from its iconography and sensibilities today.

Counterculture Kaleidoscope

Author: Nadya Zimmerman
Editor: University of Michigan Press
ISBN: 047203572X
Size: 15,20 MB
Format: PDF, Mobi
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A bold reconsideration of the meaning of 1960s San Francisco counterculture

Countercultures And Popular Music

Author: Sheila Whiteley
Editor: Routledge
ISBN: 1317158911
Size: 16,72 MB
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’Counterculture’ emerged as a term in the late 1960s and has been re-deployed in more recent decades in relation to other forms of cultural and socio-political phenomena. This volume provides an essential new academic scrutiny of the concept of ’counterculture’ and a critical examination of the period and its heritage. Recent developments in sociological theory complicate and problematise theories developed in the 1960s, with digital technology, for example, providing an impetus for new understandings of counterculture. Music played a significant part in the way that the counterculture authored space in relation to articulations of community by providing a shared sense of collective identity. Not least, the heady mixture of genres provided a socio-cultural-political backdrop for distinctive musical practices and innovations which, in relation to counterculture ideology, provided a rich experiential setting in which different groups defined their relationship both to the local and international dimensions of the movement, so providing a sense of locality, community and collective identity.

Music And History

Author: Jeffrey H. Jackson
Editor: Univ. Press of Mississippi
ISBN: 160473521X
Size: 20,62 MB
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This book begins with a simple question: Why haven't historians and musicologists been talking to one another? Historians frequently look to all aspects of human activity, including music, in order to better understand the past. Musicologists inquire into the social, cultural, and historical contexts of musical works and musical practices to develop theories about the meanings of compositions and the significance of musical creation. Both disciplines examine how people represent their experiences. This collection of original essays, the first of its kind, argues that the conversation between scholars in the two fields can become richer and more mutually informing. The volume features an eloquent personal essay by historian Lawrence W. Levine, whose work has inspired a whole generation of scholars working on African American music in American history. The first six essays address widely different aspects of musical culture and history ranging from women and popular song during the French Revolution to nineteenth-century music publishing in Philadelphia, Pennsylvania. Two additional essays by scholars outside of musicology and history represent a new kind of disciplinary bridging by using the methods of cultural studies to look at cross-dressing in nineteenth- and early twentieth-century opera and blues responses to lynching in the New South. The last four essays offer models for collaborative, multidisciplinary research with a special emphasis on popular music. Jeffrey H. Jackson, Memphis, Tennessee, is assistant professor of history at Rhodes College. He is the author of "Making Jazz French: Music and Modern Life in Interwar Paris." Stanley C. Pelkey, Portage, Michigan, is assistant professor of music at Western Michigan University. He is a member of the College Music Society, and his work has appeared in music-related periodicals.

The Republic Of Rock

Author: Michael J. Kramer
Editor: Oxford University Press
ISBN: 019972623X
Size: 16,61 MB
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Read: 137

In his 1967 megahit "San Francisco," Scott McKenzie sang of "people in motion" coming from all across the country to San Francisco, the white-hot center of rock music and anti-war protests. At the same time, another large group of young Americans was also in motion, less eagerly, heading for the jungles of Vietnam. Now, in The Republic of Rock, Michael Kramer draws on new archival sources and interviews to explore sixties music and politics through the lens of these two generation-changing places--San Francisco and Vietnam. From the Acid Tests of Ken Kesey and the Merry Pranksters to hippie disc jockeys on strike, the military's use of rock music to "boost morale" in Vietnam, and the forgotten tale of a South Vietnamese rock band, The Republic of Rock shows how the musical connections between the City of the Summer of Love and war-torn Southeast Asia were crucial to the making of the sixties counterculture. The book also illustrates how and why the legacy of rock music in the sixties continues to matter to the meaning of citizenship in a global society today. Going beyond clichéd narratives about sixties music, Kramer argues that rock became a way for participants in the counterculture to think about what it meant to be an American citizen, a world citizen, a citizen-consumer, or a citizen-soldier. The music became a resource for grappling with the nature of democracy in larger systems of American power both domestically and globally. For anyone interested in the 1960s, popular music, and American culture and counterculture, The Republic of Rock offers new insight into the many ways rock music has shaped our ideas of individual freedom and collective belonging.

Ber Hrungspunkte Des Progressive Rock Mit Artifizieller Musik In Den Sechziger Und Siebziger Jahren

Author: Finn Jacobsen
Editor: neobooks
ISBN: 3738015612
Size: 11,74 MB
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Facharbeit über den Progressive Rock der späten 1960er und 1970er Jahre, als Bands wie Yes, Emerson, Lake & Palmer, King Crimson, Pink Floyd, Gentle Giant, Jethro Tull, Deep Purple und neben vielen weiteren anderen natürlich auch die Beatles begannen, sich Kompositionstechniken, Spielweisen und Instrumente aus der klassischen Musik anzueignen. Die Arbeit analysiert die Entstehung, Ausprägungsformen und Rezeption dieser umstrittenen Rock-Stilart anhand von vielen Beispielen. Insbesondere untersuche ich dabei zwei Alben: „Tarkus“ von Emerson, Lake & Palmer (1971) sowie das „Concerto for Group & Orchestra“ von Deep Purple (1969).

Queering The Popular Pitch

Author: Sheila Whiteley
Editor: Routledge
ISBN: 1136093702
Size: 11,33 MB
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Queering the Popular Pitch is a new collection of 19 essays that situate queering within the discourse of sex and sexuality in relation to popular music. This investigation addresses the changing debates within gay, lesbian and queer discourse in relation to the dissemination of musical texts -performance, cultural production and sexual meaning - situating music within the broader patterns of culture that it both mirrors and actively reproduces. The collection is divided into four parts: queering borders queer spaces hidden histories queer thoughts, mixed media. Queering the Popular Pitch will appeal to students of popular music, Gay and Lesbian studies. With case studies and essays by leading popular music scholars it provides insightful discourse in a growing field of musicological research.

Music And Consciousness

Author: David Clarke
Editor: OUP Oxford
ISBN: 0191625582
Size: 19,76 MB
Format: PDF
Read: 489

What is consciousness? Why and when do we have it? Where does it come from, and how does it relate to the lump of squishy grey matter in our heads, or to our material and social worlds? While neuroscientists, philosophers, psychologists, historians, and cultural theorists offer widely different perspectives on these fundamental questions concerning what it is like to be human, most agree that consciousness represents a 'hard problem'. The emergence of consciousness studies as a multidisciplinary discourse addressing these issues has often been associated with rapid advances in neuroscience-perhaps giving the impression that the arts and humanities have arrived late at the debating table. The longer historical view suggests otherwise, but it is probably true that music has been under-represented in accounts of consciousness. Music and Consciousness aims to redress the balance: its twenty essays offer a timely and multi-faceted contribution to consciousness studies, critically examining some of the existing debates and raising new questions. The collection makes it clear that to understand consciousness we need to do much more than just look at brains: studying music demonstrates that consciousness is as much to do with minds, bodies, culture, and history. Incorporating several chapters that move outside Western philosophical traditions, Music and Consciousness corrects any perception that the study of consciousness is a purely occidental preoccupation. And in addition to what it says about consciousness the volume also presents a distinctive and thought-provoking configuration of new writings about music.

Speak To Me

Author: Russell Reising
Editor: Ashgate Publishing, Ltd.
ISBN: 9780754640196
Size: 17,49 MB
Format: PDF, Docs
Read: 354

This collection of essays provides indispensable studies of the monumental 1973 album, The Dark Side of the Moon, from a variety of musical, cultural, literary and social perspectives. The development and change of the songs is considered closely, from the earliest recordings through to the live, filmed performance at London's Earls Court in 1994. The album is placed within the context of developments in late 1960s/early 1970s popular music, with particular focus on the use of a variety of segues between tracks which give the album a multidimensional unity.