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Standing in the Shadows: The Songwriting, Recording, and Production of Holland-Dozier-Holland 站在阴影中:荷兰-多齐尔-荷兰的歌曲创作，录音和制作
Rock Music Studies Pub Date : 2022-08-13 DOI: 10.1080/19401159.2022.2109539
Christopher W. Bulgren
{"title":"Standing in the Shadows: The Songwriting, Recording, and Production of Holland-Dozier-Holland","authors":"Christopher W. Bulgren","doi":"10.1080/19401159.2022.2109539","DOIUrl":"https://doi.org/10.1080/19401159.2022.2109539","url":null,"abstract":"ABSTRACT The Motown songwriting and production team of brothers Brian and Eddie Holland along with Lamont Dozier, known as Holland-Dozier-Holland (HDH), was responsible for 14 number-one songs on the Billboard charts. Despite this prolific output, they remain relatively unknown. Songs by the trio were shaped by individual personalities and musical experiences resulting in innovative composition, recording, and production practices. Analysis of three songs from 1966 and 1967 revealed elements of music that made their style unique. This examination also revealed how musical creativity and ingenuity along with industry pressures led to a prolific output.","PeriodicalId":411779,"journal":{"name":"Rock Music Studies","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131565344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Toward a Systematic Understanding of “Heaviness” in Metal Music Production 对金属音乐制作中“沉重感”的系统理解
Rock Music Studies Pub Date : 2022-08-13 DOI: 10.1080/19401159.2022.2109358
Jan Herbst, M. Mynett
{"title":"Toward a Systematic Understanding of “Heaviness” in Metal Music Production","authors":"Jan Herbst, M. Mynett","doi":"10.1080/19401159.2022.2109358","DOIUrl":"https://doi.org/10.1080/19401159.2022.2109358","url":null,"abstract":"ABSTRACT “Heaviness” has been one of metal music’s defining features in three decades of metal scholarship. Research acknowledged its essential quality, but no comprehensive definition of musical heaviness was developed. This article, therefore, elaborates a preliminary framework of musical heaviness by identifying its constituent production, performance, and compositional components, including their relationships. The findings suggest that while structural and performative components provide the necessary foundation for heaviness, metal has been increasingly driven by its production. Since musicians reach limits, technology has become one of the primary means to produce ever heavier metal music in the genre-defining quest for greater heaviness.","PeriodicalId":411779,"journal":{"name":"Rock Music Studies","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134362181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 3
Drowned, Washed Up, and Left for Dead: Hyperbolic Irreverence in “Jumpin’ Jack Flash” 溺死、被冲上岸、任其自生自灭:《跳跃的闪电杰克》中夸张的不敬
Rock Music Studies Pub Date : 2022-08-11 DOI: 10.1080/19401159.2022.2110420
Salvador Alarcón-Hermosilla, Neil Nehring, Javier Campos Calvo Sotelo
{"title":"Drowned, Washed Up, and Left for Dead: Hyperbolic Irreverence in “Jumpin’ Jack Flash”","authors":"Salvador Alarcón-Hermosilla, Neil Nehring, Javier Campos Calvo Sotelo","doi":"10.1080/19401159.2022.2110420","DOIUrl":"https://doi.org/10.1080/19401159.2022.2110420","url":null,"abstract":"ABSTRACT One of the most celebrated hits of all time, “Jumpin’ Jack Flash” (1968) took the Rolling Stones back to the Rock Olympus after a musically modest 1967. The song is a by-product of the turmoil of the late 1960s across the world, a statement of rebellious youth against the values of their parents. However, the song has never been approached from a linguistic or poetic point of view. The present study explores the semantics of the verses and the inflections of their vocal performance to unearth a coarse figurative language blasphemously employing Biblical parallels with Jesus to create a demonic antagonist.","PeriodicalId":411779,"journal":{"name":"Rock Music Studies","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127565364","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Let There Be Guitar: Rhythm Techniques in the Music of Malcolm Young, Maybelle Carter, and Bob Marley 《让吉他存在:马尔科姆·杨、梅贝尔·卡特和鲍勃·马利音乐中的节奏技巧》
Rock Music Studies Pub Date : 2022-07-26 DOI: 10.1080/19401159.2022.2106088
U. Adelt
{"title":"Let There Be Guitar: Rhythm Techniques in the Music of Malcolm Young, Maybelle Carter, and Bob Marley","authors":"U. Adelt","doi":"10.1080/19401159.2022.2106088","DOIUrl":"https://doi.org/10.1080/19401159.2022.2106088","url":null,"abstract":"ABSTRACT By closely analyzing the work of three musicians, this article considers rhythm guitar techniques, a much-neglected aspect of artistic expression. Malcolm Young of AC/DC provided the underappreciated riff-based foundation for his more famous brother Angus’s soloing, but overall the group’s output still came with the baggage of rock music’s inherent sexism. Disregarding strict genre classifications and turning to folk or early country (exemplified by Maybelle Carter) and reggae (exemplified by Bob Marley), one can see parallels in rhythmic accompaniment with a slightly more egalitarian bent. All three guitarists offer a glimpse into an under-researched and diverse arena of musical practice.","PeriodicalId":411779,"journal":{"name":"Rock Music Studies","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127650736","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Rock 岩石
Rock Music Studies Pub Date : 2022-05-04 DOI: 10.1080/19401159.2020.1866869
B. Cooper
{"title":"Rock","authors":"B. Cooper","doi":"10.1080/19401159.2020.1866869","DOIUrl":"https://doi.org/10.1080/19401159.2020.1866869","url":null,"abstract":"The soundtrack of the restoration of democracy in 1985 came from rockers (Bossa Nova and Tropicália artists had musicalized the JK years' times; and disillusion, linking re-democratization to unfulfilled promises. There are noticeable variations, for example, in the views of patriotism and ideology, in addition to continuities, such as the refusal of authoritarianism, so voiced by punk bands such as Garotos Podres, Inocentes, and Ratos de Porão. This article addresses interpretations of the 1980s rock and pre-AI-5 Brazilian popular music (MPB). These images from the 1960s and those captured in the 1980s make it possible to discuss current perceptions of democracy.","PeriodicalId":411779,"journal":{"name":"Rock Music Studies","volume":"165 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132983103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Did Billboard, Cash Box, and Record World Charts Tell the Same Story? Perception and Reality, 1960-1979 《公告牌》、《现金箱》和《唱片世界排行榜》讲述的是同一个故事吗?感知与现实，1960-1979
Rock Music Studies Pub Date : 2022-05-04 DOI: 10.1080/19401159.2022.2054107
William F. Carroll
{"title":"Did Billboard, Cash Box, and Record World Charts Tell the Same Story? Perception and Reality, 1960-1979","authors":"William F. Carroll","doi":"10.1080/19401159.2022.2054107","DOIUrl":"https://doi.org/10.1080/19401159.2022.2054107","url":null,"abstract":"ABSTRACT Billboard, Cash Box, and Record World had different reputations regarding the way they ranked records in their weekly charts; however, no systematic statistical analysis has been done to test those perceptions. This paper reports such a statistical analysis of chart behavior of 4,578 record sides, each with a unique and complete chart lifecycle, peaking at position 1–40 in all three magazines. Comparison was done at three levels: magazine, record, and year/decade. The magazines were found to have statistically significant differences of fractions of a week in some components of record lifecycle (rise, peak, fall, and length of time on the charts); however, those differences are not large enough to be perceived in chart behavior, where data granularity is one week. There are significant and perceptible differences, however, between the 1960s and 1970s, due largely to the differences in the number of chart entries. At record level, Billboard tended to score the highest-ranked records slightly higher than the other two magazines. Approximately 1.5% of the records show one magazine scoring the record significantly differently than the other two. Only fractional-week differences were found among the magazines in Entry, Peak, and Exit dates. Thus, on a macro basis, the magazines tended to tell the same story; on a micro basis they could tell very different stories for reasons that are not obvious.","PeriodicalId":411779,"journal":{"name":"Rock Music Studies","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122614516","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Fashioning the “People’s Guitarist” The Mythologization of Rory Gallagher in the International Music Press 塑造“人民的吉他手”:罗里·加拉格尔的神话化，国际音乐出版社
Rock Music Studies Pub Date : 2022-03-10 DOI: 10.1080/19401159.2022.2048988
L. O’Hagan
{"title":"Fashioning the “People’s Guitarist” The Mythologization of Rory Gallagher in the International Music Press","authors":"L. O’Hagan","doi":"10.1080/19401159.2022.2048988","DOIUrl":"https://doi.org/10.1080/19401159.2022.2048988","url":null,"abstract":"ABSTRACT This paper traces how the international music press used the clothing and appearance of the Irish blues/rock musician Rory Gallagher to mythologize him as the “People’s Guitarist.” I explore how this image was constructed and developed over time, as well as Gallagher’s own response to this mythologization and how it has consolidated since his death in 1995. I argue that Gallagher’s unwillingness to compromise his integrity and shift his music or clothing to fit changing trends made him an anomaly in an image-conscious music industry. Thus, his appearance became an easy target for the music press who focused overwhelmingly on his clothing in interviews and articles. This focus unfairly drew attention away from his music and downplayed the important contribution he made to the world of blues and rock.","PeriodicalId":411779,"journal":{"name":"Rock Music Studies","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121568227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Songs of Social Protest: International Perspectives 社会抗议之歌:国际视角
Rock Music Studies Pub Date : 2022-02-24 DOI: 10.1080/19401159.2022.2046746
H. Lusty
{"title":"Songs of Social Protest: International Perspectives","authors":"H. Lusty","doi":"10.1080/19401159.2022.2046746","DOIUrl":"https://doi.org/10.1080/19401159.2022.2046746","url":null,"abstract":"","PeriodicalId":411779,"journal":{"name":"Rock Music Studies","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121575408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 3
The 33⅓ B-Sides 33又1 / 3条b边
Rock Music Studies Pub Date : 2022-02-24 DOI: 10.1080/19401159.2022.2046743
John Littlejohn
{"title":"The 33⅓ B-Sides","authors":"John Littlejohn","doi":"10.1080/19401159.2022.2046743","DOIUrl":"https://doi.org/10.1080/19401159.2022.2046743","url":null,"abstract":"","PeriodicalId":411779,"journal":{"name":"Rock Music Studies","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130490666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Chasing the Music: An Interview with Kenny Weissberg 追逐音乐:采访肯尼·维斯伯格
Rock Music Studies Pub Date : 2022-02-23 DOI: 10.1080/19401159.2022.2029168
Thomas M. Kitts
{"title":"Chasing the Music: An Interview with Kenny Weissberg","authors":"Thomas M. Kitts","doi":"10.1080/19401159.2022.2029168","DOIUrl":"https://doi.org/10.1080/19401159.2022.2029168","url":null,"abstract":"","PeriodicalId":411779,"journal":{"name":"Rock Music Studies","volume":"2012 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129458935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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