keir keightley. 2001. kap. 5.: reconsidering rock. i frith ...€¦ · 1960-1965 folk, rock and...

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 & roll1960-1965 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, punk1980-> MTV electro-pop, new pop

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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 ...€¦ · 1960-1965 folk, rock and...

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