Beat-mixing Rock music: Rock and electronic dance music merge to create the Manarays

This research introduces the proposition that Electronic Dance Music’s beat-mixing function could be implemented to create immediacy in other musical genres. The inclusion of rhythmic sections at the beginning and end of each musical work created a ‘DJ friendly’ environment. The term used in this thesis to refer to the application of beat-mixing in Rock music is ‘ClubRock’. Collaboration between a number of DJs and Rock music professionals applied the process of beat-mixing to blend Rock tracks to produce a continuous ClubRock set. The DJ technique of beat-mixing Rock music transformed static renditions into a fluid creative work. The hybridisation of the two genres, EDM and Rock, resulted in a contribution to Rock music compositional approaches and the production of a unique Rock album; Manarays—Get Lucky.

Beat-mixing rock music

Electronic dance music (EDM) has the capacity of producing not simply individual recordings but also a medium to create new soundtracks through live manipulation of these recordings by disc jockeys (DJs). This immediacy in dance music is in contrast with recorded rock music continuing to be presented in a static form. Research was undertaken to explore the proposition that EDM’s beat-mixing function can be implemented to create immediacy in rock music. The term used in this thesis to refer to the application of beat-mixing in rock music is ‘ClubRock’. Through collaboration between a number of disk jockeys and rock music professionals the research applied the process of beat-mixing standard rock compositions to produce a continuous rock set. DJ techniques created immediacy in the recordings and transformed static renditions into a fluid creative work.

Popular music exhibitions in Portugal: practices of representation from 2007 to 2013

This thesis focuses on the representation of Popular Music in museums by mapping, analyzing, and characterizing its practices in Portugal at the beginning of the 21st century. Now that museums' ability to shape public discourse is acknowledged, the examination of popular music's discourses in museums is of the utmost importance for Ethnomusicology and Popular Music Studies as well as for Museum Studies. The concept of 'heritage' is at the heart of this processes. The study was designed with the aim of moving the exhibiting of popular music in museums forward through a qualitative inquiry of case studies. Data collection involved surveying pop-rock music exhibitions as a qualitative sampling of popular music exhibitions in Portugal from 2007 to 2013. Two of these exhibitions were selected as case studies: No Tempo do Gira-Discos: Um Percurso pela Produção Fonográfica Portuguesa at the Museu da Música in Lisbon in 2007 (also Faculdade de Letras, 2009), and A Magia do Vinil, a Música que Mudou a Sociedade at the Oficina da Cultura in Almada in 2008 (and several other venues, from 2009 to 2013). Two specific domains were observed: popular music exhibitions as instances of museum practice and museum professionals. The first domain encompasses analyzing the types of objects selected for exhibition; the interactive museum practices fostered by the exhibitions; the concepts and narratives used to address popular music discursively, as well as the interpretative practices they allow. The second domain, focuses museum professionals and curators of popular music exhibitions as members of a group, namely their goals, motivations and perspectives. The theoretical frameworks adopted were drawn from the fields of ethnomusicology, popular music studies, and museum studies. The written materials of the exhibitions were subjected of methods of discourse analysis methods. Semi-structured interviews with curators and museum professional were also conducted and analysed. From the museum studies perspective, the study research suggests that the practice adopted by popular music museums largely matches that of conventional museums. From the ethnomusicological and popular music studies stand point, the two case studies reveal two distinct conceptual worlds: the first exhibition, curated by an academic and an independent researcher, points to a mental configuration where popular music is explained through a framework of genres supported by different musical practices. Moreover, it is industry actors such as decision makers and gatekeepers that govern popular music, which implies that the visitors' romantic conception of the musician is to some extent dismantled; the second exhibition, curated by a record collector and specialist, is based on a more conventional process of the everyday historical speech that encodes a mismatch between “good” and “bad music”. Data generated by a survey shows that only one curator, in fact that of my first case study, has an academic background. The backgrounds of all the others are in some way similar to the curator of the second case study. Therefore, I conclude that the second case study best conveys the current practice of exhibiting Popular Music in Portugal.

Righteous sounds and reproductive justice : the influence of Ani DiFranco's music for reproductive rights activists

In this thesis, I explore how the folk-rock music of Ani DiFranco has influenced the activist commitments, sensibilities, and activities of reproductive rights activists. My interest in the relation of popular music to social movements is informed by the work of Simon Frith (1987, 1996a, 1996b), Rob Rosenthal (2001), and Ann Savage (2003). Frith argues that popular music is an important contributor to personal identity and the ways that listeners see the world. Savage (2003) writes that fans develop a unique relationship with feminist/political music, and Rosenthal (2001) argues that popular music can be an important factor in building social movements. I use these arguments to ask what the influence of Ani DiFranco's music has been for reproductive rights activists who are her fans. I conducted in-depth interviews with ten reproductive rights activists who are fans of Ani DiFranco's music. All ten are women in their twenties and thirties living in Ontario or New York. Each has been listening to DiFranco's music for between two and fifteen years, and has considered herself a reproductive rights activist for between eighteen months and twenty years. I examine these women's narratives of their relationships with Ani DiFranco's music and their activist experience through the interconnected lenses of identity, consciousness, and practice. Listening to Ani DiFranco's music affects the fluid ways these women understand their identities as women, as feminists, and in solidarity with others. I draw on Freire's (1970) understanding of conscientization to consider the role that Ani's music has played in heightening women's awareness about reproductive rights issues. The feeling of solidarity with other (both real and perceived) activist fans gives them more confidence that they can make a difference in overcoming social injustice. They believe that Ani's music encourages productive anger, which in turn fuels their passion to take action to make change. Women use Ani's music deliberately for energy and encouragement in their continued activism, and find that it continues to resonate with their evolving identities as women, feminists, and activists. My study builds on those of Rosenthal (2001) and Savage (2003) by focusing on one artist and activists in one social movement. The characteristics of Ani DiFranco, her fan base, and the reproductive rights movement allow new understanding of the ways that female fans who are members of a female-dominated feminist movement interact with the music of a popular independent female artist.

Análisis de la incidencia de la política pública musical de Bogotá “Festival Rock al Parque 2008-2009” sobre la cultura democrática

El Festival Rock al Parque es un evento de interés cultural desarrollado y ejecutado por la Administración Distrital de Bogotá, a través del cual se fomenta la creación de propuestas artísticas y se intervienen diversas problemáticas sociales utilizando la música rock como un medio directo para llegar a los jóvenes de la ciudad. Este Festival nace en 1995 y se ha desarrollado ininterrumpidamente hasta el día de hoy. Aunque ha pasado por diversas dificultades, el Festival es un ícono representativo de identidad de las bogotanas y los bogotanos. En este Trabajo de investigación se analiza el Festival Rock al Parque como política pública liderada por la Orquesta Filarmónica de Bogotá y su incidencia en tres aspectos de la cultura democrática, a saber la cultura ciudadana, la participación ciudadana y la apropiación del espacio público.

¡Ush éstas nenas hablan como manes!: Una aproximación etnográfica a las relaciones de género en la escena del rock transgresivo en Bogotá

Investigación de carácter etnografico que buscó comprender cómo se naturaliza y se recionaliza una relación de actividad masculina sobre pasividad femenina sin imponerse de manera violenta. El soporte teórico de la investigación fueron las nociones de juventud, género y rock y la metodología cualitativa se enfocó en observaciones participantes, entrevistas a profundidad, toma de fotografías y análisis de discurso de letras de canciones.

La Influencia de la Cultura Rock sobre los Movimientos de Protesta gestados en la década de los sesenta en los Estados Unidos

El rock, como elemento cultural, jugó un papel importante en la transformación política y social de los Estados Unidos en la década de los sesentas. El escrito busca la conexión entre la música y la política, el poder y la cultura.

Estética del rock

El objetivo del presente artículo es el de analizar la estética del Rock en términos de la experiencia que ofrece este género musical. En primer lugar se construirá una relación entre el Nacimiento de la tragedia de Nietzsche y el surgimiento del Rock, bajo la premisa de que el origen del Rock es eminentemente dionisíaco; luego se mostrará una forma de la experiencia en la vida cotidiana de quien escucha Rock, en donde se da cuenta de la necesidad de expresar los sentimientos de placer y displacer en el individuo; por último, se verá el concierto como expresión última del Rock, expresión que se enmarca dentro de la característica de una celebración-ritual que guarda semejanzas con la tragedia griega. Estos elementos terminan por dar cuenta de una forma de ver el mundo en la que se constituye la individualidad dentro de la comunidad electiva

The effects of noise exposure on rock bands

This paper describes a study undertaken to study noise levels of rock music.

Rock and Roll é o nosso trabalho: a Legião Urbana do Underground ao Mainstream

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Rock in Rio – um festival (im)pertinente à música brasileira e à redemocratização nacional

A análise histórica sobre a realização do Rock in Rio (Rio de Janeiro, 1985), evento musical que contou com bandas e cantores nacionais e internacionais, permite trazer, além de dados históricos sobre a inédita concretização de um megaevento musical no Brasil, elementos de compreensão acerca da discussão sobre o Festival bem como o próprio rock nacional oitentista no período de redemocratização política brasileira. Pois, as críticas ao Rock in Rio partiram tanto de membros da Igreja Católica quanto perpassaram o campo musical e político, sempre respaldadas, aliás, em reações em defesa da “autêntica” música brasileira contra a “invasão” do rock, bem como sobre o suposto teor alienante e alienado das esferas e estruturas do rock. Além disso, este artigo busca refletir sobre mais um velho-novo gênero musical nos primeiros e mancos passos da redemocratização política brasileira.

The effects of ambient music on simulated anaesthesia monitoring

We examined the effect of no music, classical music or rock music on simulated patient monitoring. Twenty-four non-anaesthetist participants with high or low levels of musical training were trained to monitor visual and auditory displays of patients' vital signs. In nine anaesthesia test scenarios, participants were asked every 50-70 s whether one of five vital signs was abnormal and the trend of its direction. Abnormality judgements were unaffected by music or musical training. Trend judgements were more accurate when music was playing (p = 0.0004). Musical participants reported trends more accurately (p = 0.004), and non-musical participants tended to benefit more from music than did the musical participants (p = 0.063). Music may provide a pitch and rhythm standard from which participants can judge changes in vital signs from auditory displays. Nonetheless, both groups reported that it was easier to monitor the patient with no music (p = 0.0001), and easier to rely upon the auditory displays with no music (p = 0.014).

The effect of music on monitoring a simulated anaesthetised patient with sonfication

The idea of sonifying anaesthetised patients’ vital signs is gaining acceptance, but some anaesthetists are concerned about additional noise in the operating theatre. We tested the effect of ambient music (jazz, classical and rock) on participants’ ability to monitor a simulated anaesthetised patient with sonification and visual monitors. Participants liked working with ambient music when workload was low. Participants preferred rock music, but reported working better with classical. Ambient music has less effect on participants’ ability to monitor the simulated patient than a distractor task does. We discuss practical implications of these findings.