Let there be rock! Loudness and authenticity at the drum kit

Gareth Dylan Smith
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引用次数: 7

Abstract

In this position paper the author presents a perspective on rock drumming and music education. The author is a drummer and university professor who combines an autoethnographic account with consideration of theoretical frameworks including authenticity, flow and the autotelic personality. Through illustrative vignettes of rock drumming and music teaching, the author appeals to the essentially somatic experience of rock drumming. He argues that educators and educational institutions need to allow for rock’s inherent, authentic loudness or else risk misrepresenting the music and treating drummers unjustly. This means that the physical movements and resulting high volumes germane to much rock drumming in performance must be accommodated in rehearsals and practice. This article does not seek to privilege rock drumming over other forms, but argues that to include rock drumming authentically in education contexts means to acknowledge and celebrate its essence.
要有岩石!鼓包的响度和真实性
本文就摇滚乐击鼓与音乐教育的关系提出了自己的看法。作者是一名鼓手和大学教授,他将自我民族志的叙述与真实性,流动和自我人格等理论框架相结合。通过摇滚击鼓和音乐教学的插图,作者呼吁摇滚击鼓本质上是身体的经验。他认为,教育工作者和教育机构需要允许摇滚固有的、真实的响度,否则就有可能歪曲音乐,不公平地对待鼓手。这意味着在排练和练习中必须适应与演出中许多摇滚击鼓相关的物理运动和由此产生的高音量。这篇文章并不是要让摇滚击鼓凌驾于其他形式之上,而是认为将摇滚击鼓真实地纳入教育环境意味着承认和颂扬它的本质。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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