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The world’s best in blues rock! About Blues Rock Review Blues Rock Review launched in 2011 and has quickly become the leading authority in the genre with its global audience of music enthusiasts. BRR features album reviews, interviews news, videos, blogs, a forum, a radio station, and serves as a central hub for all that is blues rock. Blues Rock Review has interviewed the biggest names in the genre, including Joe Bonamassa, Warren Haynes, Greta Van Fleet, Kenny Wayne Shepherd, Jonny Lang, Paul Rodgers, and countless others. Content from Blues Rock Review is commonly shared on many artists’ social media networks expanding BRR’s reach to thousands of additional readers. Banner Ad Rates Ad type 1 Month 3 Months 6 Months 12 Months 200x200 $200 $500 ($600 $900 ($1,200 $1,500 sidebar value) value) ($2,400 value) 200x300 $250 $650 ($750 $1,200 $2,000 sidebar value) ($1,500 value) ($3,000 value) 300x250 $300 $800 ($900 $1,500 $2,400 sidebar value) ($1,800 value) ($3,600 value) 200x150 $150 $400 ($450 $700 ($900 $1,100 sidebar value) value) ($1,800 value) 160x600 $400 $900 ($1,200 $1,600 $2,450 skyscraper value) ($2,400 value) ($4,800 value) 468x60 in $150 $400 ($450 $700 ($900 $1,200 content value) value) ($1,800 value) banner ad (best click rate) 20% rotation Email Blasts/Sponsored Posts Blues Rock Review’s email blasts go out to over 15,000 targeted subscribers! Ad type 1 Blast Custom Email $500 Blast (featured in subject line) Email blast $300 (custom blurb in newsletter) 468x60 $100 banner ad in newsletter Sponsored $300 Post featured in main page content slider Sponsored $150 post 3 Month Album Promotion Package, $999 ($1,350 value) Recommended for independent artists and record labels. Includes… 200x200 sidebar banner ad $600 value 468x60 in-content banner ad (20% rotation) $450 value (3) 468x60 Email Blast banners with purchase link (monthly sent to 8,000+ subscribers) $300 value 1 Year Virtuoso Promotion Package, $5,999 ($9,800 value) Recommended for major music juggernauts! Includes… 350x200 sidebar banner ad $3,600 value 468x60 in-content banner ad (20% rotation) $1,800 value (4) Custom Email Blasts $2,000 value (12) 468x60 Email Blast banners with purchase link (monthly sent to 15,000+ subscribers) $1,200 value (4) Sponsored Posts featured on main page content slider ($1,200 value) Top 20 Albums of 2018 Sponsorship, $1,999 ($2,400 value) Sponsor the most prestigious list in Blues Rock! 2018 will be the 8th Annual Top 20 Blues Rock Albums of the Year list, which regularly sets traffic records each year thanks in large part to viral activity on social media shared by bands, fans, and others. Includes… “Presented by (company name)” in the post title. $1,500 value “Presented by (company name)” in email blast title to 15,000+ subscribers $500 value Email blast banner ad $100 value “Presented by (company name)” in Facebook (tagged) post. (3 times) $150 value “Presented by (company name)” in Twitter (@mention) post. (3 times) $150 value Contact [email protected] for more! .

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Compound AABA Form and Style Distinction in Heavy Metal *
Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay .
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Lyle Montague Or Tara Clifford, [email protected]
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Celebrating Chicago's Music Legacy
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Blues Lyric Formulas in Early Country Music, Rhythm and Blues, and Rock and Roll *
Blues Lyric Formulas in Early Country Music, Rhythm and Blues, and Rock and Roll * Nicholas Stoia NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.20.26.4/mto.20.26.4.stoia.php KEYWORDS: blues, country music, rhythm and blues, rock and roll, lyric formulas ABSTRACT: This article briefly recounts recent work identifying the most common lyric formulas in early blues and then demonstrates the prevalence of these formulas in early country music, rhythm and blues, and rock and roll. The study shows how the preference for certain formulas in prewar country music—like the preference for the same formulas in prewar blues—reflects the social instability of the time, and how the de-emphasis of these same formulas in rhythm and blues and rock and roll reflects the relative affluence of the early postwar period. This shift in textual content is the lyrical counterpart to the electrification, urbanization, and growing formal complexity that mark the transformation of prewar blues and country music into postwar rhythm and blues and rock and roll. DOI: 10.30535/mto.26.4.8 Received May 2018 Volume 26, Number 4, November 2020 Copyright © 2020 Society for Music Theory [0.1] Singers and songwriters in many genres of American popular music rely on lyric formulas for the creation of songs. Lyric formulas are fragments of lyrical content—usually lines or half lines— that are shared among singers and recognized by both musicians and listeners. Blues is the genre for which scholars have most conclusively established the widespread use of lyric formulas, and this study briefly recounts recent work that identifies the most common lyric formulas in commercially recorded blues from the early 1920s to the early 1940s—research showing that the high frequency of certain formulas reflects the societal circumstances of much of the African American population during that period.
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Women in Rock OLLI Berkeley Course Material
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