A LETTER from PETE SEEGER: Pop, Rock, & Coca-Colonization
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Networks of Music Groups As Success Predictors
Networks of Music Groups as Success Predictors Dmitry Zinoviev Mathematics and Computer Science Department Suffolk University Boston, Massachussets 02114 Email: dzinoviev@suffolk.edu Abstract—More than 4,600 non-academic music groups process of penetration of the Western popular music culture emerged in the USSR and post-Soviet independent nations in into the post-Soviet realm but fails to outline the aboriginal 1960–2015, performing in 275 genres. Some of the groups became music landscape. On the other hand, Bright [12] presents an legends and survived for decades, while others vanished and are known now only to select music history scholars. We built a excellent narrative overview of the non-academic music in the network of the groups based on sharing at least one performer. USSR from the early XXth century to the dusk of the Soviet We discovered that major network measures serve as reason- Union—but with no quantitative analysis. Sparse and narrowly ably accurate predictors of the groups’ success. The proposed scoped studies of few performers [13] or aspects [14] only network-based success exploration and prediction methods are make the barren landscape look more barren. transferable to other areas of arts and humanities that have medium- or long-term team-based collaborations. In this paper, we apply modern quantitative analysis meth- Index Terms—Popular music, network analysis, success pre- ods, including statistical analysis, social network analysis, and diction. machine learning, to a collection of 4,600 music groups and bands. We build a network of groups, quantify groups’ success, I. Introduction correlate it with network measures, and attempt to predict Exploring and predicting the success of creative collabo- success, based solely on the network measures. -
Part 1 Audiota
Russia Inventory List Please use this list to check off items before returning the kit to Milner Library. Box – Part 1 Audiotapes Moscow Symphony Orchestra and Children’s Chorus/ Chimes of Bells (w/information sheet) Russian Pop and Rock Music II Books Children’s Russian Language Book w/Pictures (1975) A Day In the Life of the Soviet Union Illustrated Book About the Far East (4 laminated pages) (in pkg w/Russian Children’s Paintings) Kocthoma Hapodhoro (in Russian) (picture book – ethnic clothing) Let’s Visit the Soviet Union: A Passport Sticker Book Russia Today (teaching unit) Russia: A Literature Based Multicultural Unit Teacher’s Manual Magazines National Geographic (6 individual binders, 11 articles total) Newspapers Russian Newspaper (1993) Pictures and Paintings Russian Children’s Paintings (3) (in pkg w/Illustrated Book About the Far East) Church of St. Basil, Moscow General View of Moscow, Russia Tsar Kolokol, Moscow (Czar of Bells) Winter Palace, St. Petersburg Realia Children’s Story Cards (4 pairs) (in pkg w/Folk Toys and Wooden Egg) Cups (2) (lacquer-ware) Folk Doll (large) Folk Toys (2) (small) (1 w/instrument; 1 w/chef’s hat) Lapel Pins (12) Matryoshki (2) (nesting dolls) (1 set of 4, yellow coat; 1 set of 5, red coat) Pens (2) and Brooch (1) (lacquer-ware) Photos (1 set) (in pkg w/postcards) - Vladimir (25) Peter the Great Costume (jacket, waistcoat, breeches, stockings, wrist cuffs, neck stock) (fits child 4 – 4 ½ ‘ tall) Picture of Peter the Great (in clothing similar to above costume) (in bag w/costume) 1 | R u s s -
Is Rock Music in Decline? a Business Perspective
Jose Dailos Cabrera Laasanen Is Rock Music in Decline? A Business Perspective Helsinki Metropolia University of Applied Sciences Bachelor of Business Administration International Business and Logistics 1405484 22nd March 2018 Abstract Author(s) Jose Dailos Cabrera Laasanen Title Is Rock Music in Decline? A Business Perspective Number of Pages 45 Date 22.03.2018 Degree Bachelor of Business Administration Degree Programme International Business and Logistics Instructor(s) Michael Keaney, Senior Lecturer Rock music has great importance in the recent history of human kind, and it is interesting to understand the reasons of its de- cline, if it actually exists. Its legacy will never disappear, and it will always be a great influence for new artists but is important to find out the reasons why it has become what it is in now, and what is the expected future for the genre. This project is going to be focused on the analysis of some im- portant business aspects related with rock music and its de- cline, if exists. The collapse of Gibson guitars will be analyzed, because if rock music is in decline, then the collapse of Gibson is a good evidence of this. Also, the performance of independ- ent and major record labels through history will be analyzed to understand better the health state of the genre. The same with music festivals that today seem to be increasing their popularity at the expense of smaller types of live-music events. Keywords Rock, music, legacy, influence, artists, reasons, expected, fu- ture, genre, analysis, business, collapse, -
World and Time
z World and Time A Short Trip Around The Musical Globe z Jamaica . Reggae is a musical genre originating from Jamaica, through the expansion of two existing styles, Ska and Rocksteady. It has associations with the Rastafarian religious movement . Lyrics are often delivered in differing forms of Jamaican English (local dialect known as ‘patois’), with subjects based around the Rastafarian movement, social injustice, racism, peace and love. It is characterised by melodies played on the bass guitar, rhythmic stabs (known as ‘skank’) played on guitar/keyboards, and three drum grooves that feature syncopation, which means accenting weak beats of the bar – the one drop, rockers and steppers. The ‘One Drop’ groove z . Listen to the song ‘Get Up Stand Up’ by Bob Marley, the most famous exponent of the Reggae genre: https://www.youtube.com/watch?v=Tg97JiBn1kE . Here is a sample of the drum groove in notation . Below is the groove isolated for you to play – Look at the notation and listen to the groove – notice how the bass drum is missing from the start of beats 1 and 3, which is uncommon in most other pop music genres. Try to count along – it’s difficult without the bass drum on 1 and 3! Cubaz . Afro-Cuban music is comprised of a number of styles, including montuno, cha cha cha and mambo. These styles gave birth to a huge sub-genre of Latin music known as Salsa. This was pioneered by Cuban musicians who had migrated to New York City in USA. Salsa lyrics can range from romantic affairs of the heart, to political subject matter (based around communism). -
Paradoxes Within Soviet Rock and Pop of the 1970S A
UNIVERSITY OF CALIFORNIA Los Angeles The Soundtrack of Stagnation: Paradoxes within Soviet Rock and Pop of the 1970s A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Alexandra Grabarchuk 2015 ABSTRACT OF THE DISSERTATION The Soundtrack of Stagnation: Paradoxes within Soviet Rock and Pop of the 1970s by Alexandra Grabarchuk Doctor of Philosophy in Musicology University of California, Los Angeles, 2015 Professor David MacFadyen, Chair The “underground” Soviet rock scene of the 1980s has received considerable scholarly attention, particularly after the fall of the USSR when available channels of information opened up even more than in the glasnost years. Both Russian and American academics have tackled the political implications and historical innovations of perestroika-era groups such as Akvarium, Mashina Vremeni, and DDT. Similarly, the Beatles craze of the 1960s is also frequently mentioned in scholarly works as an enormous social phenomenon in the USSR – academics and critics alike wax poetic about the influence of the Fab Four on the drab daily lives of Soviet citizens. Yet what happened in between these two moments of Soviet musical life? Very little critical work has been done on Soviet popular music of the 1970s, its place in Soviet society, or its relationship to Western influences. That is the lacuna I address in this work. My dissertation examines state-approved popular music – so-called estrada or “music of the small stage” – produced in the USSR during the 1970s. Since detailed scholarly work has ii been done on the performers of this decade, I focus instead on the output and reception of several popular composers and musical groups of the time, exploring the relationship formed between songwriter, performer, audience, and state. -
Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 James M. Maynard Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the American Film Studies Commons, American Literature Commons, and the American Popular Culture Commons Recommended Citation Maynard, James M., "Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/170 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 Jamie Maynard American Studies Program Senior Thesis Advisor: Louis P. Masur Spring 2012 1 Table of Contents Introduction..…………………………………………………………………………………4 Chapter One: Developing the niche for rock culture & Monterey as a “savior” of Avant- Garde ideals…………………………………………………………………………………...7 Chapter Two: Building the rock “umbrella” & the “Hippie Aesthetic”……………………24 Chapter Three: The Yin & Yang of early hippie rock & culture—developing the San Francisco rock scene…………………………………………………………………………53 Chapter Four: The British sound, acid rock “unpacked” & the countercultural Mecca of Haight-Ashbury………………………………………………………………………………71 Chapter Five: From whisperings of a revolution to a revolution of 100,000 strong— Monterey Pop………………………………………………………………………………...97 Conclusion: The legacy of rock-culture in 1967 and onward……………………………...123 Bibliography……………………………………………………………………………….128 Acknowledgements………………………………………………………………………..131 2 For Louis P. Masur and Scott Gac- The best music is essentially there to provide you something to face the world with -The Boss 3 Introduction: “Music is prophetic. It has always been in its essence a herald of times to come. Music is more than an object of study: it is a way of perceiving the world. -
The Role of the Beatles in Popularizing Indian Music and Culture in the West Rodrigo Guerrero Faculty Advisors: Dr
32 The Role of The Beatles in Popularizing Indian Music and Culture in the West Rodrigo Guerrero Faculty Advisors: Dr. Charles Brewer, Dr. Sarah Eyerly, and Dr. Douglass Seaton College of Music Abstract: The Beatles were responsible for several long-lasting innovations that shaped the history of pop music and Western culture in general. As a British rock band that dominated the popular music scene during the 1960s, they made one of their most significant, yet sometimes overlooked, contributions through the incorporation of elements from Indian culture in their music and lyrics. This essay discusses the role that the Beatles played in introducing and popularizing certain features of Indian culture, and specifically Indian music, in the Western hemisphere. I first describe their relationship with Indian culture. In this section, I bring forth questions, such as why they became interested in this culture, why they decided to go on a spiritual retreat to India, and how the trip influenced their thoughts about foreign culture. After that, this essay analyzes the influence of Indian culture and Indian music on the Beatles’ lyrics and music, respectively. Finally, I will illuminate the lasting effect that this cross- fertilization had in subsequent years. he 1960s was a decade of experimentation in popular music. The Beatles, the British rock band that dominated the popular music scene Tduring this decade, was responsible for long-lasting innovations that would shape the history and style of pop music and Western culture. One of their most significant, yet overlooked, contributions to Western culture was the incorporation of Indian musical elements into their songs. -
Refiguring the Rebetika As Literature
Macalester College DigitalCommons@Macalester College English Honors Projects English Department 4-2020 Bodies in the Margins: Refiguring the Rebetika as Literature Sophia Schlesinger Macalester College, [email protected] Follow this and additional works at: https://digitalcommons.macalester.edu/english_honors Part of the English Language and Literature Commons, Ethnomusicology Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Schlesinger, Sophia, "Bodies in the Margins: Refiguring the Rebetika as Literature" (2020). English Honors Projects. 44. https://digitalcommons.macalester.edu/english_honors/44 This Honors Project - Open Access is brought to you for free and open access by the English Department at DigitalCommons@Macalester College. It has been accepted for inclusion in English Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. BODIES IN THE MARGINS Refiguring the Rebetika as Literature Sophia Schlesinger Faculty Advisor: Andrea Kaston-Tange Macalester English Department Submitted April 25th, 2020 Abstract This thesis engages a literary analysis of a corpus of songs and recordings known as the rebetika (sing. rebetiko), which prospered in the port districts of major cities throughout the Aegean in the early 20th century. Engaging the rebetika as literary texts, I argue, helps us understand how they have functioned as a kind of pressure point on the borders between nation and Other. Without making unproveable biographical claims about the motives of the music progenitors, I examine why so many have reached for the rebetika as texts with which to articulate various political and cultural desires. Using a multidisciplinary theoretical framework that includes Elaine Scarry, Stuart Hall, Edward Said, Mark C. -
University of Alberta 'Indo-Jazz Fusion'
University of Alberta ‘Indo-Jazz Fusion’: Jazz and Karnatak Music in Contact by Tanya Kalmanovitch A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music Edmonton, Alberta Spring 2008 Abstract An inherently intercultural music, jazz presents a unique entry in the catalog of interactions between Indian music and the west. This dissertation is situated in a line of recent accounts that reappraise the period of Western colonial hegemony in India by tracing a complex continuum of historical and musical events over three centuries. It charts the historical routes by which jazz and Karnatak music have come into contact in the twentieth and twenty-first centuries, both in India and abroad. It presents a detailed account of the history of jazz in India, and Indian music in jazz, and examines jazz’s contact with Karnatak music in three contexts—jazz pedagogy, intercultural collaboration, and the Indian diaspora in the United States—illustrating the musical, social and performative spaces in which these musics come into contact, and describing the specific musical and social practices, and political and social institutions that support this activity. Case studies in this dissertation include an educational exchange between the Jazz and Contemporary Music Program of the New School University (New York, NY) and the Brhaddhvani Research and Training Centre for Musics of the World (Chennai, India), directed by the author in December 2003 – January 2004; a 2001 collaboration between Irish jazz/traditional band Khanda and the Karnataka College of Percussion; and analyses of recent recordings by pianist Vijay Iyer, saxophonist Rudresh Mahanthappa and drummer Ravish Momin. -
1 the Absent Presence of Progressive Rock in the British Music Press, 1968
The absent presence of progressive rock in the British music press, 1968-1974 Chris Anderton and Chris Atton Abstract The upsurge of academic interest in the genre known as progressive rock has taken much for granted. In particular, little account has been taken of how discourses surrounding progressive rock were deployed in popular culture in the past, especially within the music press. To recover the historical place of the music and its critical reception, we present an analysis of three British weekly music papers of the 1960s and 1970s: Melody Maker, New Musical Express and Sounds. We find that there appears to be relatively little consensus in the papers studied regarding the use and meaning of the term ‘progressive’, pointing to either multiple interpretations or an instability of value judgments and critical claims. Its most common use is to signify musical quality – to connect readers with the breadth of new music being produced at that time, and to indicate a move away from the ‘underground’ scene of the late 1960s. 1 Introduction Beginning in the 1990s there has been an upsurge of academic interest in the genre known as progressive rock, with the appearance of book-length studies by Edward Macan (“Rocking”) and Bill Martin (“Music of Yes”, “Listening”), to which we might add, though not strictly academic, Paul Stump. The 2000s have seen further studies of similar length, amongst them Paul Hegarty & Martin Halliwell, Kevin Holm-Hudson (“Progressive”, “Genesis”) and Edward Macan (“Endless”), in addition to scholarly articles by Jarl A. Ahlkvist, Chris Anderton (“Many-headed”), Chris Atton (“Living”), Kevin Holm-Hudson “Apocalyptic”), and Jay Keister & Jeremy L. -
The History of Rock Music - the Beginnings
The History of Rock Music - The beginnings The History of Rock Music: 1955-1966 Genres and musicians of the beginnings History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) The Counterculture 1965- 66 (These are excerpts from my book "A History of Rock and Dance Music") The Greenwich Movement TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The British bands changed the way rock'n'roll was played. At the same time, USA folk-singers were changing the way rock'n'roll was "consumed". The fusion of music and politics that occurred in the early 1960s had lasting effects on the very nature and purpose of rock music. Rock music became a primary vehicle for expressing dissent within the Establishment, and therefore one of the most relevant aspects of the "counterculture". Even when the political element was not predominant, rock music came to adopt a stance that was "countercultural" in nature. Rock'n'roll had been discriminated against. Protest folk-singers had been discriminated against. There was a tradition that made rock music an "underground" phenomenon by nature. The youth of the USA was still searching for an identity, the process that had begun with rock'n'roll. Underground music provided several ways to achieve that goal. Fans of underground music repudiated the passive kind of listening that was typical of pop music (humming the melodies that are played often on the radio, hailing the star that is publicized by the media) and adopted a more independent and critical judgment of music. -
Prog Archives, All Rights Reserved
4/29/13 GODSTICKS Spiral Vendetta music review by SharkZ HOME PROG ROCK GUIDES COLLABORATORS / MEMBERS LOGIN FORUMS PROG RADIOS PROG LINKS FAQ ABOUT PROGARCHIVES.COM PROG SUB-GENRES: Canterbury Scene Crossover Prog Eclectic Prog Experimental/Post Metal Heavy Prog Indo-Prog/Raga Rock Jazz Rock/Fusion Krautrock Neo- Prog Post Rock/Math Rock Prog Folk Progressive Electronic Progressive Metal Psychedelic/Space Rock RIO/Avant-Prog Rock Progressivo Italiano Symphonic Prog Tech/Extreme Prog Metal Zeuhl Various Genres/Artists Prog Related Proto-Prog ARTISTS: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z # VA: SAMPLERS VA: CONCEPT ALBUMS VA: TRIBUTES ALL POPULAR ARTISTS (TOP 50, LAST 24H) : Black Sabbath The Samurai of Prog Deep Purple Yes Vienna Circle King Crimson TesseracT Days Between Stations Pink Floyd Orphaned Land Genesis Kytaja Steven Wilson Horslips Venturia The Ocean Jethro Tull Rick Wakeman Gentle Giant Frank Zappa Marillion Porcupine Tree Big Big Train Camel Museo Rosenbach Spock's Beard Rush Banco Del Mutuo Soccorso Premiata Forneria Marconi (PFM) Believe Steve Hackett Magma Dream Theater Phideaux The Soft Machine Riverside Djam Karet Arena Renaissance Leprous Vermilion Sands Van Der Graaf Generator Anglagard Comedy Of Errors Styx Eloy Trettioariga Kriget Omega Queensrÿche The Enid MISC: PA Top Prog Albums Top 2012 Albums Top DVDs TOP 100 (with MP3) Online Videos Interviews Gigs Reviews Active Topics Review, MP3, Video PROG SHOPPING: Doug Larson's Imports Prog @ Ebay Prog @ Amazon Prog @ CDUniverse Prog Books @ Amazon SEARCH: discography submit SPIRAL VENDETTA Godsticks Crossover Prog 3.73 | 9 ratings From Progarchives.com, the ultimate progressive rock music website A rare instance of progression in the modern "progressive" rock scene.