keir keightley. 2001. kap. 5.: reconsidering rock. i frith ... · pdf file7 eddie fisher...

Keir Keightley. 2001.Kap. 5.: Reconsidering rock. I Frith, Straw & Street (red.) The Cambridge Companion to Pop and Rock. s.109-142.Cambridge University Press

Rock’n’roll and its pre-history

The in-between years and the British Invasion

Folk versus mass society in the USA

Youth

Stratification

Authenticity

Conclusion

Keir Keightley. 2001.Kap. 5.: Reconsidering rock.

Forestillingen om hva som er rock:

dannes av:

historiske sammenhenger

publikum

musikk-kritikeres diskurser

musikkindustrielle praksiser

This article attempts to map out a number of rock music culture’s dominant features as they emerge, develop and change over time.

Mål: Kartlegge flere av rockekulturens dominerende kjennetegn slik de oppstår, utvikles og endres over tid.

The first part of this chapter offers a critical survey of the three decades leading into the emergence of rock in the mid-1960s.

Rock’n’roll and its pre-historyThe in-between years and the British Invasion


Youth

Stratification

Authenticity

Conclusion


Benny Goodman

Guy Lombardo

Et voksent publikum:

Frank Sinatra

Ella Fitzgerald

Et tenåringspublikum:

Bill Haley & his Comets

LP (33) versus singler (45)



Youth

Stratification

Authenticity

Conclusion


Rock’n’roll and its pre-history

The in-between years and the British InvasionFolk versus mass society in the USA

Youth

Stratification

Authenticity

Conclusion



Folk versus mass society in the USAYouth

Stratification

Authenticity

Conclusion


Newport Folk Festival 1963

Newport Folk Festival 1965



YouthStratification

Authenticity

Conclusion


Rock’s constitutive paradox – it is a massively popular anti-mass music (...)– to criticise some performers as sell-outs even as respected rock stars sold in the millions. – to conceive of itself as an underground cult even as rock became the dominant force within the music industry by the 1970s.



Youth

StratificationAuthenticity

Conclusion


Pop; that area of popular music said to be marked by ethical compromise and capitulation.



Youth

Stratification

AuthenticityConclusion


Authenticity– the compass that orients rock culture in its navigation of the mainstream.

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Youth

Stratification

Authenticity

Conclusion


Rock’n er skapt innenfor et mainstream, kommersielt musikkfelt og opererer innenfor dette feltet til å videreføre ideologier om autentisitet fra tidligere epoker i kulturhistorien som skaper lagdelinger/hierarkier innenfor populærmusikkfeltet.

Tim Wall (2003):«Studying Popular Music Culture. Studying the Media»

1. Histories

2. Industries and Institutions

3. Form, Meaning and Representation

4. Audiences

5. Case studies and Conclusions

Part One: Histories

Chapter 1: Constructing Histories of Popular Music

Chapter 2: Musical and Cultural Repertoires

Chapter 3: Social, Economic and Technical Factors

Chapter 4: Case Studies

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1840-1900 minstrelsy, vaudeville

1910-1920 Tin Pan Alley, Ragtime blues

1920-1930 Jazz

1940-1950 Broadway, big band, bebop and cool jazz rhythm & blues

1955-1960 Rock & roll, skiffle doo-wop, rock & roll blues, rock & roll

1960-1965 folk, rock and soul 60s pop, Beatles blues revival, Mersey beat

1965-1970 Rolling Stones, Dylan, soul, Motown soul, mods, rock, folk

1970-1975 teenyboppers guitar rock singer-songwriters, heavy metal, glam rock

1975-1980 disco, punk punk rock funk, northern soul, reggae, punk

1980-> MTV electro-pop, new pop

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1957 1967 1977 19871 Tommy Steel Tom Jones David Soul Jackie Wilson2 Guy Mitchell Monkees Showaddywaddy Housemartins3 Malcolm Vaughan Seekers Abba Madonna4 Frankie Vaughan Who Johnny Mathis Europe5 Johnie Ray Donovan Stevie Wonder A-ha6 Bing Crosby/Grace Kelly Dave Dee Mike Oldfield Alison Moyet7 Eddie Fisher Troggs Tina Charles Erasure8 Elvis Presley Cliff Richard Julie Covington Communards9 Pat Boone Val Doonican Smokie Oran ‘Juice’ Jones10 Bill Haley Supremes 10cc Gregory Abbott11 Frankie Vaughan Kinks Paul Nicholas Gap Band12 Fats Domino Four Tops ELO Bon Jovi13 Elvis Presley Georgie Fame Status Quo Dexy’s Midnight Runners14 Frankie Lane Move Queen Berlin15 Frankie Lane Cat Stevens Barry Biggs Genesis16 Garry Miller Wayne Fontana Yvonne Elliman Elkie Brooks17 Elvis Presley Easybeats Rose Royce Jaki Graham18 Jimmy Young Cream Kursal Flyers Eurythmics19 Pat Boone Jimmy Ruffin Boney M Status Quo20 Mitchell Torok Temptations Steely Dan Pretenders

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Keith Negus (1996): “Histories”kap. 5 i «Popular Music in Theory: An Introduction.»

The importance of historical knowledgeThe revolutionary momentThe end of the eraThe peak: Sergeant PepperConclusion - rock on and on

keir keightley. 2001. kap. 5.: reconsidering rock. i frith ... · pdf file7 eddie fisher...

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