Art is Dead. Long Live Rock! Avant-Gardism and Rock Music, 1967-99

2012 ◽  
Author(s):  
Elizabeth Ann Lindau
Keyword(s):  
Rock Music ◽  
Live Rock

Temporary Hearing Loss and Rock Music

1987 ◽  
Vol 18 (3) ◽  
pp. 267-274 ◽  
Author(s):  
Mary A. Danenberg ◽  
Margaret Loos-Cosgrove ◽  
Marie LoVerde
Keyword(s):  
Hearing Loss ◽  
Pure Tone ◽  
Rock Music ◽  
Threshold Shift ◽  
Partial Recovery ◽  
Level Of Confidence ◽  
Adolescents And Adults ◽  
Live Rock ◽  
Typical School ◽  
Air Conduction

In order to investigate the effects of exposure to live rock music on the hearing of adolescents and adults attending a typical school dance, pre and postexposure binaural pure-tone air-conduction thresholds were obtained for 2,000, 4,000, and 6,000 Hz from 20 students (13 girls, 7 boys, ages 12 to 17 years) and 7 adult chaperones (37 to 43 years). All but one student and one adult experienced at least a 5 dB threshold shift at one or more frequencies, with average threshold shifts at all frequencies significant at the .05 level of confidence. Fifteen of the 19 students and all the adults who experienced shifts also reported tinnitus. Of the 6 subjects randomly selected to be retested 3 days postexposure, 4 demonstrated only partial recovery to preexposure thresholds. Implications of repeated rock music exposure are discussed.

Geography of Chinese rock and roll: cultural, political and economic forces intertwined

2018 ◽  
Author(s):  
June Wang ◽  
Li Chen
Keyword(s):  
Role Models ◽  
Western China ◽  
Rock And Roll ◽  
Hybrid Form ◽  
Economic Forces ◽  
Live Rock ◽  
Material Space

<p>This chapter mines the literature to bring out the richness and heterogeneity of Chinese rock. The first part charts the geography of music as the intersection of situated material space and networked topology. Chinese rock thus assembles disparate elements from the two wests: the capitalist-west and, the western China of the silk roads. The second part addresses the live rock scenes that has mushroomed in cities, some as forces of dissenters, some as state-sanctioned role models, or, as a hybrid form of both. </p>

Psychedelic Illusions

2018 ◽  
Author(s):  
Jonathan Weinel
Keyword(s):  
Rock Music ◽  
Outer Space ◽  
Altered States ◽  
Sound Design ◽  
States Of Consciousness ◽  
Production Techniques ◽  
1960S And 1970S ◽  
Rock N Roll ◽  
The 1960S ◽  
Conceptual Meaning

This chapter explores how music technologies and electronic studio processes relate to altered states of consciousness in popular music. First, an overview of audio technologies such as multi-tracking, echo, and reverb is given, in order to explore their illusory capabilities. In the rock ’n’ roll music of the 1950s, studio production techniques such as distortion provided a means through which to enhance the energetic and emotive properties of the music. Later, in surf rock, effects such as echo and reverb allowed the music to evoke conceptual visions of teenage surf culture. In the 1960s and 1970s, these approaches were developed in psychedelic rock music, and space rock/space jazz. Here, warped sounds and effects allowed the music to elicit impressions of psychedelic experiences, outer space voyages, and Afrofuturist mythologies. By exploring these areas, this chapter shows how sound design can communicate various forms of conceptual meaning, including the psychedelic experience.

Red Light Jams

2017 ◽  
Author(s):  
Joseph Pignato
Keyword(s):  
Rock Music ◽  
Red Light ◽  
Transformative Power ◽  
Artistic Activity ◽  
Music Making ◽  
Narrative Reporting ◽  
Adult Lives

This chapter considers the transformative power of leisure music making as leisure by examining the lasting impact a series of adolescent jam sessions had on the lives of two participants. Those experiences, which the participants have affectionately dubbed “the Red Light Jams,” offered a formative, potent mix of refuge, catharsis, and transformation of their individual identities, of their friendship, and of their burgeoning musicianship. The chapter draws on autoethnography, structured reminiscence, and narrative reporting to describe those experiences of making rock music. Although the participants lead separate adult lives, they often share memories of those sessions. The author analyzes their recollections through a variety of lenses, including the concept of intentionality, Foucault’s notion of crisis heterotopias, and Lukács’s understanding of artistic activity as catharsis.

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