DOCSLIB.ORG

A Stylistic Analysis in British Musician's Selected Songs A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Stylistic Analysis in British Musician's Selected Songs A A STYLISTIC ANALYSIS IN BRITISH MUSICIAN’S SELECTED SONGS A THESIS BY : ANDI FEBRIAN MAULANA REG. NO. 140705134 DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2019 UNIVERSITAS SUMATERA UTARA A STYLISTIC ANALYSIS IN BRITISH MUSICIAN’S SELECTED SONGS A THESIS BY ANDI FEBRIAN MAULANA REG. NO. 140705134 SUPERVISOR CO-SUPERVISOR Drs. Yulianus Harefa, M.Ed., TESOL. Dra. Roma Ayuni A Loebis, M.A. NIP. 19610703 198601 1 001 NIP. 19680122 199803 2 001 Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan in partial fulfillment of the requirements for the degree of Sarjana Sastra from Department of English DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2019 UNIVERSITAS SUMATERA UTARA Approved by the Department of English, Faculty of Cultural Studies University of Sumatera Utara (USU) Medan as thesis for the Sarjana Sastra examination. Head, Secretary, Prof. T. Silvana Sinar, M.A., Ph.D Rahmadsyah Rangkuti, M.A., Ph.D NIP. 19540916 198003 2 003 NIP. 19750209 200812 1 002 UNIVERSITAS SUMATERA UTARA Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara, Medan. The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on 16th May 2019. Dean of Faculty of Cultural Studies University of Sumatera Utara Dr. Budi Agustono, MS NIP. 19600805 198703 1 001 Board of Examiners Prof. T. Silvana Sinar, M.A., Ph.D ____________________ Drs. Yulianus Harefa, M.Ed., TESOL ____________________ Dr. Rohani Ganie, M.Hum ____________________ UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION I, ANDI FEBRIAN MAULANA DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT DUE ACKNOWLEDGMENTS IN THE MAIN TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION. Signed: Date: May, 16, 2019 UNIVERSITAS SUMATERA UTARA COPYRIGHT DECLARATION NAME : ANDI FEBRIAN MAULANA TITLE OF THESIS : A STYLISTIC ANALYSIS IN BRITISH MUSICIAN’S SELECTED SONGS QUALIFICATION : S1/SARJANA SASTRA DEPARTMENT : ENGLISH I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES, UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER THE LAW OF THE REPUBLIC OF INDONESIA. Signed: Date: May16, 2019 UNIVERSITAS SUMATERA UTARA ACKNOWLEDGEMENTS First of alli would like to thank and praise Allah SWT for his countless blessings during the time i write this thesis. There were times during i‘m working on this thesis that bring me down and made me feel like i want to give up, but he continued to give me strength in order to finish this thesis. I also would like to thank my supervisor Drs. Yulianus Harefa, M.Ed. TESOL., my co-supervisor Dra. Roma Ayuni A Loebis, M.A. who has given advice, criticism and precious time in correcting this thesis and thank to the Head Department of English Literature Prof. T. Silvana Sinar, M. A., Ph. D for her guidance and suggestions. And to all of the staff and lecturers in English Literature Department who have helped me and taught me everything I need in the past 5 year. The most special thank is dedicated to my beloved parents, Andi Maulana MB and Mentik, my Etta and my Mom for theirendless love, pray and motivationthat made me keep going and never giving up in order to finish this thesis. My partners at works, all the team in SCJ9 and SCS9 who always be my daily-sharing-things- together. Also the greatest thank to all of my best friends called―SUMMER FLINGS SQUAD‖. The best group of my life.Thank you for being the place where i can spill everything that bothering me in the process of writing my thesis and also become my family for these past 5 years.Thank you for my braders, Fajar, Akbar, Jeremy, and Arief. Thank you for create my work life full of story. My high school buddies, Feri, Rody, Halil, Teguh, Roni Putra, Aa, Bandar. You are all had become the best adviser ever. My Batam Squad in Medan Keke, Maru, Dina, Deby, Bg David and also Ilham, Doni, Steven. Thank you guys for all the time that we spent together. Unforgettable. Next is my beautiful Beneditha Athalia Simatupang, thank you for all your support UNIVERSITAS SUMATERA UTARA for the past 5 years, I will not survive if I ain‟t got you with me baby~.I also thank C Class of English Literature 2014 for helping me along the way and made my college life full of happiness. The last is for Rana Ashila Salim. Thank you for accepting me for who I am, I will make you happy someday. Honorable mentions : Dwik, Utik, Windi, Titha, Mia, Zura, Kak Sarah, Bang Mefint, Bg Tommi, Nisa, Fira, Sisi, IMKR, IMSI 2014, IMSI 2011, Teater ‗O‘, IMSI 2017. However, this thesis is still far from perfect but i wish that this thesis could give contribution to the English Language studies especially in the study Ecolinguistics. Therefore,i accept for any constructive criticism and suggestions to give me more improvement in the future. Medan, May 16, 2019 Andi Febrian Maulana UNIVERSITAS SUMATERA UTARA ABSTRAK Tesis ini berjudul ―A Stylistic Analysis in British Musician‘s Selected Songs‖. Sebuah analisis stilistika yang diimplementasikan pada lirik-lirik empat musisi Inggris pilihan (Bob Dylan, Oasis, Blur, Ed Sheeran). Lagu-lagu ini dirilis antara tahun 1963 dan 2011. Pendekatan utama dari penelitian ini adalah untuk meneliti penggunaan bahasa kiasan, sajak, dan pengulangan, yang mana untuk memperlihatkan gaya bahasa si penulis lagu. Konteks dan penelitian lain tentang single pilihan dari lagu-lagu mereka adalah untuk pemahaman yang lebih besar tentang memahami makna lirik. Ke empat lagu itu adalah; Blowin ‟in The Wind (Bob Dylan), Roll with It (Oasis), Country House (Blur) dan The A-Team (Ed Sheeran) yang sangat populer dan sukses pada masa musik Britpop. Data dianalisis dengan menggunakan metode analisis wacana. Dari analisis, menunjukkan bahwa metafora adalah majas yang paling sering digunakan untuk menggambarkan makna dalam berbagai macam konsep. Selain itu, rima maskulin dan pengulangan adalah perangkat fonetik yang paling signifikan yang membuat lirik terdengar halus dan juga menyoroti pesan-pesan penting dalam lirik tersebut. Lebih penting lagi, stilistika strategi ini mencerminkan gaya penulisan lagu dari empat penulis lagu besar di era yang berbeda-beda yang di sajikan dengan menarik dalam berbagai konteks. Kata kunci: analisis stilistika, musisi asal Inggris, lirik lagu, linguistik, bahasa kiasan, rima, dan pengulangan. i UNIVERSITAS SUMATERA UTARA ABSTRACT This thesis is entitled ―A Stylistic Analysis in British Musician‘s Selected Songs‖. A linguistic stylistic analysis was implemented upon the lyrics of four selected British‘s musician (Bob Dylan, Oasis, Blur, Ed Sheeran). They were released between 1963 and 2011. The primary approach of this study is to investigate the use of figurative language, rhyme, and repetition, in order to show the stylistic devices of the songwriters. Context and other interviews about selected singles were taken into songs for greater understanding of meaning of lyrics. The songs were four singles; Blowin‟ in The Wind (Bob Dylan), Roll with It (Oasis), Country House (Blur) and The A-Team (Ed Sheeran) which were very popular and successful during the years of Britpop history. The data was analyzed by using discourse analysis method. Findings showed that metaphor is most frequently used to describe meaning in various kinds of concepts. In addition, masculine rhyme and repetition are significant phonetic devices that make lyrics sound smooth and also highlight the important messages in the verses. More importantly, these stylistic strategies reflected the songwriting style of the four great songwriters in different era that are interestingly performed in a variety of contexts. Keywords: stylistic analysis, British‘s musician, song lyrics, linguistic, figurative language, rhyme, repetition ii UNIVERSITAS SUMATERA UTARA TABLE OF CONTENTS ABSTRAK ................................................................................................................... i ABSTRACT ................................................................................................................ ii TABLE OF CONTENTS ........................................................................................... iii LIST OF FIGURES .................................................................................................... iv LIST OF TABLES ...................................................................................................... v CHAPTER I INTRODUCTION 1.1 Background of The Study ................................................. 1 1.2 Problem of The Study ....................................................... 4 1.3 Objectives of The Study .................................................... 5 1.4 Scope of The Study ........................................................... 5 1.5 Significance of The Study ................................................. 6 CHAPTER II REVIEW OF RELATED LITERATURE 2.1 Stylistics ...........................................................................
Load more

Recommended publications
  • The Beatles on Film
    Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964
    [Show full text]
  • The A-Z of Brent's Black Music History
    THE A-Z OF BRENT’S BLACK MUSIC HISTORY BASED ON KWAKU’S ‘BRENT BLACK MUSIC HISTORY PROJECT’ 2007 (BTWSC) CONTENTS 4 # is for... 6 A is for... 10 B is for... 14 C is for... 22 D is for... 29 E is for... 31 F is for... 34 G is for... 37 H is for... 39 I is for... 41 J is for... 45 K is for... 48 L is for... 53 M is for... 59 N is for... 61 O is for... 64 P is for... 68 R is for... 72 S is for... 78 T is for... 83 U is for... 85 V is for... 87 W is for... 89 Z is for... BRENT2020.CO.UK 2 THE A-Z OF BRENT’S BLACK MUSIC HISTORY This A-Z is largely a republishing of Kwaku’s research for the ‘Brent Black Music History Project’ published by BTWSC in 2007. Kwaku’s work is a testament to Brent’s contribution to the evolution of British black music and the commercial infrastructure to support it. His research contained separate sections on labels, shops, artists, radio stations and sound systems. In this version we have amalgamated these into a single ‘encyclopedia’ and added entries that cover the period between 2007-2020. The process of gathering Brent’s musical heritage is an ongoing task - there are many incomplete entries and gaps. If you would like to add to, or alter, an entry please send an email to [email protected] 3 4 4 HERO An influential group made up of Dego and Mark Mac, who act as the creative force; Gus Lawrence and Ian Bardouille take care of business.
    [Show full text]
  • The Beatles Record Review
    WRITING ASSIGNMENT Record Review You are going to write a record review of an album that is deemed significant in Rock Music. A list of groups/artists can be accessed by clicking on link below http://www.rollingstone.com/ news/story/5938174/the_rs_500_greatest_albums_of_all_time Criteria: Title Page Name, word count, course number, section number, etc. Introduction: Write a biography of the group you're critiquing. This should include the year the group/artist began recording, a list of and year of recordings, billboard chart positions, and any awards, Grammys, etc. www.allmusic.com is a great source for biographical information. Section 1 You will need to include all of the specifics of the recording, record label, producer(s), year, and dates of recording. Listen to the album several times as if you were a record critic and write an overview of the album, i.e. style of music, mood, highlights, lowlights, etc. Here are some things to consider: Is there a unifying theme throughout the album? Are there contrasting themes? If so, what are they? Is there enough variety musically in your opinion? What is it about this album in particular that makes it stand out? Section 2 Pick four songs and discuss them in more detail. Discuss your likes and dislikes as we have in relation to the journal entries in class but you will need to go into more detail. Discuss any other elements you find compelling, i.e., imagery from the lyrics or lack thereof, the use of and/or role of instrumentation, tempos, solos, vocals, etc. Section 3 Summarize your experience.
    [Show full text]
  • MUSICAL CONSTRUCTIONS of AFRO-BAHIAN IDENTITIES by Juan Diego Diaz Meneses a THESIS SUBMITTED in PARTIAL
    ORKESTRA RUMPILEZZ: MUSICAL CONSTRUCTIONS OF AFRO-BAHIAN IDENTITIES by Juan Diego Diaz Meneses A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate and Postdoctoral Studies (Ethnomusicology) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) March 2014 © Juan Diego Diaz Meneses, 2014 Abstract This dissertation examines the relationship between music and politics of black identities in Salvador, Bahia (Brazil), an epicenter of Afro-Brazilian culture. It focuses on discourses of blackness and on the role of grooves, instruments, symbolism, and perceptions of carnival music, candomblé, and jazz in the contruction of black identities in Bahia. I propose a model that integrates discourses of black primitivism and empowerment with seven notions commonly associated with black and African music: rhythmicity, percussiveness, spirituality, communalism, embodiment, traditionalism, and closeness to nature. My contribution uses a Foucauldian interpretation of these notions to explain how they work together to form discourses of blackness, not on the notions themselves for they are all widely known. The model accommodates a wide range of interpretations of these themes offering more flexible views of blackness. A Bahian big band called Rumpilezz that blends jazz with various forms of Afro- Bahian music (such as candomblé and samba-reggae), serves as my laboratory for applying this model. Aspects of public self-representation, performance practice, music structure, and musical reception
    [Show full text]
  • The British Invasion: Finding Traction in America by Piacentino Vona A
    The British Invasion: Finding Traction in America by Piacentino Vona A thesis presented to the University Of Waterloo in fulfilment of the thesis requirement for the degree of Master of Arts in History Waterloo, Ontario, Canada, 2018 © Piacentino Vona 2018 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract As a period of American History, the 1960s has provided historians and academics with a wealth of material for research and scholarship. Presidents John F. Kennedy, Lyndon B. Johnson and Richard Nixon, the Vietnam War, the hippie era, and the Civil Rights Movement, among other topics have received thorough historical discussion and debate. Music was another key aspect in understanding the social history of the 1960s. But unlike the people and events mentioned above, historians have devoted less attention to music in the historical landscape. The British Invasion was one such key event that impacted America in the 1960s. Bands such as the Beatles, the Rolling Stones, and the Who found their way into the United States and majorly impacted American society. Using secondary sources, newspaper articles, interviews and documentaries on these bands, this thesis explores the British Invasion and its influence in the context of 1960s America. This thesis explores multiple bands that came in the initial wave. It follows these bands from 1964-1969, and argues that the Beatles, the Rolling Stones, and the Who shared common multiple factors that allowed them to attain the traction to succeed and to maintain that success in the United States.
    [Show full text]
  • ORKESTRA RUMPILEZZ: MUSICAL CONSTRUCTIONS of AFRO-BAHIAN IDENTITIES by Juan Diego Diaz Meneses a THESIS SUBMITTED in PARTIAL
    ORKESTRA RUMPILEZZ: MUSICAL CONSTRUCTIONS OF AFRO-BAHIAN IDENTITIES by Juan Diego Diaz Meneses A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate and Postdoctoral Studies (Ethnomusicology) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) March 2014 © Juan Diego Diaz Meneses, 2014 Abstract This dissertation examines the relationship between music and politics of black identities in Salvador, Bahia (Brazil), an epicenter of Afro-Brazilian culture. It focuses on discourses of blackness and on the role of grooves, instruments, symbolism, and perceptions of carnival music, candomblé, and jazz in the contruction of black identities in Bahia. I propose a model that integrates discourses of black primitivism and empowerment with seven notions commonly associated with black and African music: rhythmicity, percussiveness, spirituality, communalism, embodiment, traditionalism, and closeness to nature. My contribution uses a Foucauldian interpretation of these notions to explain how they work together to form discourses of blackness, not on the notions themselves for they are all widely known. The model accommodates a wide range of interpretations of these themes offering more flexible views of blackness. A Bahian big band called Rumpilezz that blends jazz with various forms of Afro- Bahian music (such as candomblé and samba-reggae), serves as my laboratory for applying this model. Aspects of public self-representation, performance practice, music structure, and musical reception
    [Show full text]
  • CHAPTER NINE: “GOOD VIBRATIONS”: AMERICAN POP and the BRITISH INVASION, 1960S
    CHAPTER NINE: “GOOD VIBRATIONS”: AMERICAN POP AND THE BRITISH INVASION, 1960s Chapter Outline I. American Pop and the British Invasion, the1960s A. The decade of the 1960s was one of the most disruptive, controversial, and violent eras in American history. 1. Civil rights movement 2. Vietnam War 3. Assassinations of John F. Kennedy and the Reverend Martin Luther King Jr. 4. Popular music played an important role in defining the character and spirit of this decade. 5. The baby boom generation played a vital role in the major political and cultural events of this period. They were identified by their own popular music, rock ’n’ roll. 6. Rock ’n’ roll developed into “rock.” a) Outlet for expression of the political and cultural hopes and fears of a generation coming to terms with politics, racial issues, and the Vietnam War 1 CHAPTER NINE: “GOOD VIBRATIONS”: AMERICAN POP AND THE BRITISH INVASION, 1960s II. The Early 1960s: Dance Music and “Teenage Symphonies” A. Three important trends emerged in the early 1960s: 1. A new kind of social dancing developed, inspired by “The Twist” and other dance-oriented records. 2. Members of the first generation to grow up with rock ’n’ roll were beginning to assume influential positions in the music industry as writers and producers. 3. The Tin Pan Alley system was reinvented for the new music and new audiences. a) Brill Building in New York b) Gold Star Studios in Los Angeles c) Motown, headquartered in Detroit B. New stylistic possibilities for rock ’n’ roll emerged out of California, led by the Beach Boys and Brian Wilson, who established a model for many to follow by being an innovative performer, writer, and producer.
    [Show full text]
  • Popular Music and the State: the British Honours System and Its Treatment of Popular Musicians
    Journal of Cultural Analysis and Social Change, 2019, 4(2), 12 ISSN: 2589-1316 Popular Music and the State: The British Honours System and its Treatment of Popular Musicians Emma-Jayne Reekie 1* 1 University of Liverpool, UNITED KINGDOM *Corresponding Author: [email protected] Citation: Reekie, E. J. (2019). Popular Music and the State: The British Honours System and its Treatment of Popular Musicians, Journal of Cultural Analysis and Social Change, 4(2), 12. https://doi.org/10.20897/jcasc/6356 Published: December 11, 2019 ABSTRACT This article examines popular musicians recognised by the British honours system within its first hundred years of operation (1917-2017). Through a statistical analysis of a unique dataset of the honoured musicians, compiled for this article, it will be asserted that to be worthy of an honour entails possessing certain non- musical attributes including economic worth and notions of a particular type of Britishness. The increasing importance of popular music to Britain’s cultural life, identity and heritage through the 20th century and early 21st century is vital for understanding why musicians are valued by the government through the conferral of awards. The volume of musicians awarded post-1997 will demonstrate a shift in the perception of popular music by the British government as the creative industries become increasingly important to the British economy and finally, further analysis will reveal that women are underrepresented in the honours system, a trend which reflects wider socio-cultural trends in the recognition of women artists. Keywords: awards, popular music, cultural economy, honours system, Britishness INTRODUCTION “The thing about honours is that you should never ask for them, and you should never really expect them, but I think you should accept them if they are given to you” (Eliscu, 2002).
    [Show full text]
  • Music 96676 Songs, 259:07:12:12 Total Time, 549.09 GB
    Music 96676 songs, 259:07:12:12 total time, 549.09 GB Artist Album # Items Total Time A.R. Rahman slumdog millionaire 13 51:30 ABBA the best of ABBA 11 43:42 ABBA Gold 9 36:57 Abbey Lincoln, Stan Getz you gotta pay the band 10 58:27 Abd al Malik Gibraltar 15 54:19 Dante 13 50:54 Abecedarians Smiling Monarchs 2 11:59 Eureka 6 35:21 Resin 8 38:26 Abel Ferreira Conjunto Chorando Baixinho 12 31:00 Ace of Base The Sign 12 45:49 Achim Reichel Volxlieder 15 47:57 Acid House Kings Sing Along With 12 35:40 The Acorn glory hope mountain 12 48:22 Acoustic Alchemy Early Alchemy 14 45:42 arcanum 12 54:00 the very best of (Acoustic Alchemy) 16 1:16:10 Active Force active force 9 42:17 Ad Vielle Que Pourra Ad Vielle Que Pourra 13 52:14 Adam Clayton Mission Impossible 1 3:27 Adam Green Gemstones 15 31:46 Adele 19 12 43:40 Adele Sebastan Desert Fairy Princess 6 38:19 Adem Homesongs 10 44:54 Adult. Entertainment 4 18:32 the Adventures Theodore And Friends 16 1:09:12 The Sea Of Love 9 41:14 trading secrets with the moon 11 48:40 Lions And Tigers And Bears 13 55:45 Aerosmith Aerosmith's Greatest Hits 10 37:30 The African Brothers Band Me Poma 5 37:32 Afro Celt Sound System Sound Magic 3 13:00 Release 8 45:52 Further In Time 12 1:10:44 Afro Celt Sound System, Sinéad O'Connor Stigmata 1 4:14 After Life 'Cauchemar' 11 45:41 Afterglow Afterglow 11 25:58 Agincourt Fly Away 13 40:17 The Agnostic Mountain Gospel Choir Saint Hubert 11 38:26 Ahmad El-Sherif Ben Ennas 9 37:02 Ahmed Abdul-Malik East Meets West 8 34:06 Aim Cold Water Music 12 50:03 Aimee Mann The Forgotten Arm 12 47:11 Air Moon Safari 10 43:47 Premiers Symptomes 7 33:51 Talkie Walkie 10 43:41 Air Bureau Fool My Heart 6 33:57 Air Supply Greatest Hits (Air Supply) 9 38:10 Airto Moreira Fingers 7 35:28 Airto Moreira, Flora Purim, Joe Farrell Three-Way Mirror 8 52:52 Akira Ifukube Godzilla 26 45:33 Akosh S.
    [Show full text]
  • 5. the British Invasion, 1964-1966
    5. The British Invasion, 1964-1966 • A period where there is a surge of interest in UK bands in the US and elsewhere (including the UK) – Before this, there were almost no UK acts on US charts • Many different musical styles fall under this category – Mersey Beat groups; London Electric Blues groups; soul, R&B, pop groups • A commonality is that they are British groups with strong US influences, who sold that music back to Americans – One irony here is that British Invasion groups often played an unintentional role in damaging the career of the US artists and styles that had influenced them • Also helped some blues artists, contributed to an interest in US blues among white Americans Lecture Outline • The focus is on two British Invasion styles: Mersey Beat and London Electric Blues • Skiffle → Mersey Beat → The Beatles • Chicago (Electric) Blues → London Blues → The Rolling Stones Skiffle • Skiffle refers to a 20s/30s US dance music based on homemade or simple folk instruments (washtub bass, spoons, jugs) • In the UK it had a more general meaning: a movement of young musicians playing fast, enthusiastic versions of US folk songs – US folk music transformed when UK musicians tried to perform it • Many musicians who would become important UK rock figures in the 1960s began their careers in skiffle bands – The Beatles, Jimmy Page, Van Morrison, etc. • Ex: Lonnie Donegan – “Rock Island Line” (1956) • Very fast, hyper, loud Mersey Beat aka Beat Music • Pop music from Liverpool and NW England – named after Mersey River • Beat groups influenced
    [Show full text]
  • The Jazz Rag
    THE JAZZ RAG ISSUE 131 SPRING 2014 CURTIS STIGERS UK £3.25 CONTENTS CURTIS STIGERS (PAGE 10) THE AMERICAN SINGER/SONGWRITER/SAXOPHONIST TALKS OF HIS VARIED CAREER IN MUSIC AHEAD OF THE RELEASE OF HIS LATEST CONCORD ALBUM, HOORAY FOR LOVE AND HIS APPEARANCES AT CHELTENHAM AND RONNIE SCOTT'S. 4 NEWS 5 UPCOMING EVENTS 7 LETTERS 8 HAPPY 100TH BIRTHDAY! SCOTT YANOW on jazz musicians born in 1914. 12 RETRIEVING THE MEMORIES Singer/collector/producer CHRIS ELLIS SUBSCRIBE TO THE JAZZ RAG looks back. THE NEXT SIX EDITIONS MAILED 15 MIDEM (PART 2) DIRECT TO YOUR DOOR FOR ONLY £17.50* 16 JAZZ FESTIVALS Simply send us your name. address and postcode along with your 20 JAZZ ARCHIVE/COMPETITIONS payment and we’ll commence the service from the next issue. OTHER SUBSCRIPTION RATES: 21 CD REVIEWS EU £20.50 USA, CANADA, AUSTRALIA £24.50 Cheques / Postal orders payable to BIG BEAR MUSIC 29 BOOK REVIEWS Please send to: JAZZ RAG SUBSCRIPTIONS PO BOX 944 | Birmingham | England 32 BEGINNING TO CD LIGHT * to any UK address THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 BBC YOUNG MUSICIAN JAZZ AWARD Fax: 0121 454 9996 On March 8 the final of the first BBC Young Musician Jazz Award took place at the Email: [email protected] Royal Welsh College of Music and Drama. The five finalists were three saxophonists Web: www.jazzrag.com (Sean Payne, Tom Smith and Alexander Bone), a trumpeter, Jake Labazzi, and a double bassist, Publisher / editor: Jim Simpson Freddie Jensen, all aged between 13 and 18.
    [Show full text]
  • Music 262: Rock Music, History and Social Analysis, Beatles 1
    Music 262: Rock Music, History and Social Analysis, Beatles 1 [Music Playing on Piano] [Brian Ward]: We’ve had a lot of build-up to this point. We talked about early rock n’ roll and we’ve talked about rhythm and blues this sort of dark period where Buddy Holly died in the plane crash. Rock n’ roll kind sort of had a dark period there. It was kind of kept alive by various doo wop soul groups, girl groups, Phil Spector, pop bands. But there wasn’t really much happening. People thought that rock n’ roll was sort of a fad that had kind of faded away at least in its early form in the 1950s. Well in 1964 along comes this group that really revolutionized rock n’ roll. In 1964 The Beatles hit the United States. The Beatles really changed a lot. They changed a lot in terms of fashion. They changed a lot in terms of social behavior. Definitely they changed the music. They also were really able to change music history. This timing was really important. In early 1964, America and American music was really starving for direction. We have in the pop charts a lot of easy listening, instrumental hits, bubblegum pop, teen idols and so we really were starved for this. So when The Beatles hit the scene, America really was I wouldn’t exactly say ready for it, but very soon after they took over and people fell in love with them in a big way. One thing is really interesting about this, what they call the British invasion.
    [Show full text]