Annotated Bibliography

Audrey Robeson ENC 1102 March 15, 2014

Robeson 2 Rock music is a genre of music that has faced a huge number of critics and complaints over its history. It began through an evolution of jazz and folk music and morphed into one of the leading genres of its time. It has faced opposition from religious fanatics, concerned mothers, musicians, and the like, for all aspects. This bibliography is a look into how music is viewed by critics, what effect it has on listeners, its varying level of success in terms of market value, and the process of creation that it has gone through over the past 75 years. Rock music has an effect on various parts of culture. It has a large control over the music charts, has effected fashion throughout its career, and has been a source of escape for many people. It has under-gone numerous changes since its inception, which led to the creation of all kinds of sub-genres. Many of the sources used in this bibliography address these changes. In this bibliography, we will look at the earliest onslaught of rock music and its morphology from jazz and blues into rock and roll into pop- rock, and so on. The basic concepts of the music and lyrics will also be address, specifically pertaining to the reasoning behind lyrics and the various motifs that appear throughout rock history. In terms of limitations, I will address the critical and cultural aspects as well as the specificities of rock. Rock music is a far-reaching genre that has affected much of the world, and therefore, we will look at those perspectives. My sources are from every part of the globe, including North and South America, England, India, and Israel. I feel it is important to have a global view of this genre because of its influence over so much of a society. Not only have the arts been effected, the sciences have as well. In 1973, the oldest skeleton was found in the Awash Valley of Ethiopia. The fossil was named after the song playing on the radio that day: Lucy in

Robeson 3 the Sky with Diamonds by The Beatles. This is just one example of how far-reaching rock music is. In this bibliography, I will not focus on one specific artist or sub-genre. Every annotation will look at rock music as a whole. While I do address rock music in other countries, I have kept a focus on American and British rock music and its effects. I have chosen to focus on these two countries rather than including rock from other countries in order to maintain a focus. America and England have been, arguably, the two most influential countries in the genre. I feel that they are best at embodying rock music as a whole.

Appel, Nadav. "Ga, ga, ooh-la-la: the childlike use of language in pop-rock." Popular Music 33.1 (2014): 91-208. Nadav Appel, a student from Bar-llan University in Isreael, wrote this desrcriptive article on the childlike use of language (91) In it, she looks into the relation of childlike language and its contingency in rock and significance as a musical practice (91). She uses concepts outlined by Gilles Deleuze and Felix Guatarri, two French philosophers. The point of this article in genreal is to see if the child-like lyrics share a connection with the music as a whole. She uses examples such as Tutti Frutti and the naming of the genre doo-wop. Her conclusive finding is that the positive production of an inherently different type of consciousness (105). Brennan, Matt. "Nobody Likes Rock and Roll but the Public: Down Beat , Genre Boundaries and the Dismissal of Rock and Roll by Jazz Critics." 36.5 (2013): 559-577. In his article Popular Music and Society, Matt Brennan dives into the realm of music journalism and its effects on music history as a whole. He focuses on what happens when a

Robeson 4 journalist writes about a genre outside of his expertise, specifically relating it to Down Beat, a journal dedicated to jazz. This article outlines questions of biased feeling towards rock and R&B genres from the jazz community. It includes a discriptive history of the Down Beat and an analysis of the use of degrading sentiments towards rock and R&B that had previouslyly been used towards jazz. Brennan states that the Down Beat was using the same misconceptions of jazz such as it being morally corrupt and aesthetically primitive (575) to degrade rock and R&B. Furthermore, he found that the publication as a whole was controlling each individual article and how it was to be written, as most publcations do. In conclusion, I found this article to be helpful in my research because it shows the biased view of different genres of music and how that can effect the perception of the masses. Cutietta, Robert. "Rock Music Gets a Label." Music Educators JournalVol. 72, No. 8 April 1986: 36-38. Rock Music Gets a Label is written by Robert Cutietta, the dean of the USC Thornton School of Music as well as the USC Glorya Kaufman School of Dance. The Article is an interesting view on the history of warning labels on albums. Cutietta claims that there are many problems with assigning labels to albums, including biased judgments and misinterpretation. I find this article useful and interesting because it was written about an issue that we now know the outcome of, there are labels on albums. Tis article gives a unique and primary account of an issue that is now accepted. Denning, Mike. "Rock Music." The 60's without Apology (Spring- Summer, 1984): 327-328. In this short article, Mike Denning outlines the research, or lack there of rock music in the 60s. Denning evaluates the valididty of the few books and articles published at the time. He reviews the claims made by such authors and also brings to light the lack of attention given to the genre by Leftist groups of the period. He goes on to praise the British accounts of rock music and their debates centered around the relation of rock music to youth subcultures (328). In total, this article is short, but outlines rock music in the sixties and points out further books and articles for me to research.

Robeson 5 Durant, Alan. "Rock Revolution or Time-No-Changes: Visions of Change and Continuity in Rock Music." Popular Music Vol. 5, Continuity and Change 1985: 97- 121. Alan Durant, a professor of Communication at Middlesex University, wrote this article in order to point out the polarised view of rock music. He claims that there are generally two standpoints taken about rock music- that it is at the forefront of change or that it is repetitive. Durant argues that rock is ever-changing and does so by using examples of technology in the form of albums and records, synthesizers, and video as well as rocks influences over fashion. I like this article because it recognizes two main arguments that surface in discussion about rock music. I can also use it as a correlation between rock and fine art. Gracyk, Theodore A. "Romanticizing Rock Music." Journal of Aesthetic Education Vol. 27, No. 2 Summer 1993: 43-58. In this article, Theodore Gracyk outlines the ideals of Ramanticism and the hopes that it is the doorway for the rock community to enter into the realm of Fine Art. He claimsmusic as a whole is catagorically the same as poets and writers of the romantic era. He also describes obstacles such as confusion over whether rock is a subgenre of folk art. He recognizes spokes-persons of the cause such as Camille Paglia and her attempts to highlight the reasons why rock would not be considered a fine art- mainly marketing schemes to exploit artists and draw audiences in with ideas "to get laid, to get fame, and to get rich" (45). IN general, this article helps with my research because it is a further account of why rock music should be included in the category of Fine Art. It does so by giving an extensive historical analysis of rock music as it pertains to Paglia's ideals. Hesselink, Nathan. "Rhythmic play, compositional intent and communication in rock music." Popular Music; Jan 2014: 69-90. Author Nathan Hesselink, a student at the school of music at the University of British Columbia in Canada, wrote this article as a focus on the musical aspect of rock- specifically on the composition. He also discusses the bonds that form between musicians over mutual respect and a sense of community. He goes into detail about rhythmic play and its appearance in all aspects of life. In rock music, it is most often found at the beginning of a

Robeson 6 song. In his article, Hesselink samples two well-known rock bands: Police and Radiohead. He admits his bias over these two because they are two of his favorite bands. I feel that in this case, his bias only helps his research because it means that he knows the music very well and is more likely to notice subtle rhythmic shifts. Lacher, Kathleen T. and Richard Mizerski. "An Exploratory Study of the Responses and Relationships Involved in the Evaluation of, and in the Intention to Purchase New Rock Music." Journal of Consumer Research 21.2 (1994): 366-380. Kathleen Lacher, the Assistant Professor of Marketing at Auburn University, and Richard Mizerski, a Professor of Marketing at Florida State University did in-depth research of the marketing aspect of rock music as it pertains to the selling of albums and the intentions of the consumer. Their research showed the sensorial, emotional, imaginal, and analytical responses to music. Lacher and Mizerski explore the marketing aspect of music and how and why an individual buys an album. They determine that a key aspect of why music is bought is so that it may be controlled and consumed as often as wanted. This article is important to my research because it highlights the marketing aspects of rock music and determines possible reasons for purchase. It does so with a different lens than many of the articles in this bibliograpy; instead of looking through a critical lens, it does so through a marketing and strategy one. I find it to be useful for that purpose. Powers, Devon. "Long-haired, freaky people need to apply: Rock music, cultural intermediation, and the rise of the 'company freak' (English)." Journal of consumer culture [J. consum. cult.] 2012: 1-18 18p ref 1 p.1/4. Devon Powers, a sociologist of Leisure and Mass Culture, researches the idea of a "company freak." This article is incredibly interesting in that it takes an idea that many are familiar with and goes into a detailed analysis of why these people work where they do. Powers researches the use of "company freaks" that help to bridge the gap between rebellious rock-listeners and the mainstream media. He details the jobs in consumerism and publicity that these people have and explains that they are there to help sell. This article is very useful to my research in that it addresses a topic that is often overlooked and it does so in a seemingly unbiased way.

Robeson 7 . "Rock Criticism's Public Intellectuals." Popular Music & Society Oct 2010: 533-548. In a second, more historical journal, Devon Powers analyzes the writing and minds of journalists in the late 60's. He claims that rock music not only created a whole new culture and stigma, but it also helped fuel a generation of intellectuals. He begins the journal with a brief history and direct quote from writers of the time and describes how they felt as they entered into rock journalism. In order to define his terms, he uses Russell Jacoby's The Last Intellectual and which says" a public intellectual is often understood as a figure who uses generally available channels to raise issues of social import in ways that can be grasped by a 'nonspecialist audience" (p. 535). I like this article as well as the other one by Powers because they both dictate a key aspect of rock music that isn't normally talked about. He also discusses the period between "rock n roll" and "rock"- a gap between the late 1950's and early 60's in which there were very few influential artists. Racic, Ladislav. "International Review of the Aesthetics and Sociology of Music, Vol. 12." December 1981: 199-202. This in depth article, written by Ladislav Racic of The University of Massachussets, outlines the aesthetic analysis of rock music (199) whilst critiquing the lack of in-depth analysis made by other researchers. Racic develops a disriptive inquiry of the sound, pitch, and quality of each instrument and its place in a rock band. She finishes her article with a claim that it would be necessary to create new criteria by the means of which the correct evaluation of the aesthetic values of rock music compositions could be carried out and usefully applied in a broader music education (202). This article is useful in that it hightlights the aesthetic value of rock whilst recognizing its validity in the education system. Regev, Motti. "Pop-Rock Music as Expressive Isomorphism: Blurring the National, the Exotic, and the Cosmopolitan in Popular Music." American Behavioral Scientist 55.5 (2011): 558-573.

Robeson 8 Expressive isomorphism is characterized as the process through which national uniqueness is standardized so that expressive culture of various nations, or of social sectors within them, comes to consist of similar expressive forms and stylistic elements" (p. 558). This article is interesting in that it looks at rock music through a psychological viewpoint. Regev uses ideas of psychologists studying world society as her basis for the journal. One key point of this article is that it tends to agree with the idea that "culture in world society develops through a path of rational-instrumental similarity based on world models, and expressive diversity, based mostly on local-national traditional patterns" (p. 555). This gives a clear definition of culture in terms of rock music. On the downside, the author, Motti Regev, tends to disagree with this idea, stating instead that "national uniqueness is standardized" (p. 555) . "Producing Artistic Value: The Case of Rock Music ." The Sociological Quarterly Vol. 35, No. 1 Februarty 1994: 85-102. Motti Regev is the head of the Department of Literature in Landuage and the Arts at the Open University of Israel. In this studious article, Regev aims to prove his claim that Cultural forms gain artistic recognition when their producers of meaning "prove" that they (a) contain "serious" meanings and aesthetic genuineness; (b) they are produced by a definable creative entity and (c) the creative entity is autonomous, producing its works for their own sake. (85) He states that major rock icons such as the Beatles, Jimi Hendrix, and Bob Dylan have been used as examples to argue that rock as a genre should be recognized as a real art form. Rings, Michael. "Doing It Their Way: Rock Covers, Genre, and Appreciation." Journal of Aesthetics & Art Criticism Feb 2013: 55-63. This short, yet descriptive article written my Michael Rings, outlines the unique obsession of musicians to create covers of rock songs. He bring up the point that covers of songs seem to be largely used only by rock musicians and no other genres. Rings, who works at the Department of Philosophy at Indian University, uses examples of songs like "Smells Like Teen Spirit" by Nirvana and "With a Little Help from My Friends" by The Beatles. He

Robeson 9 gives quite a bit of detail into what each song sounds like, sometimes giving the song a bad connotation. I believe that is the only drawback of this article. Turrini, Joseph M. "Well I Don't Care About History": Oral History And the Making Of Collective Memory in Punk Rock." Notes Sep 2013: 59-77. In this depictive article, Joseph Turrini looks into the history of punk rock, and attempts to determine the validity of the historians of punk rock. Turrini is an assistant professor and coordinator for the Archival Administration Certificate Program in the School of Library and Information Sciences at Wayne State University. In the first two words, Turrini makes a claim that The Ramones are the "quintessential first- generation American punk band" (p. 1). From there, the article goes on to discuss Oral- history and give examples of what techniques are used to recount the history of punk rock. Turrini states that he will look into the "creation, transmission, and diffusion of collective memory" and do so my exploring the formats of "oral interviews as a source and do-it-yourself ethics" (p. 61). Overall, I feel that whilst Turrini's article is helpful in its recount of the punk-rcok history. It is most helpful in the description of Oral history. In the abstract, it is stated that "punk music and culture have also been active in crafting their own history who is best able to do this is contested terrain" (p. 59). This tells me that the history he uses to back up his claims may not be entirely accurate and also might be biased to his personal beliefs and favorite bands.