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Jugendkultur und Rhythmus eine Untersuchung der Westberliner Halbstarkenkrawalle 1956 - 58 unter kommunikationsrhythmischem AspektAlbrecht, Ralf January 2008 (has links)
Zugl.: Jena, Univ., Diss., 2008
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O discurso da crise ambiental nas letras de rock and roll: modos de ser sujeito em tempos contemporâneosVieira, Virgínia Tavares January 2013 (has links)
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Previous issue date: 2013 / O presente estudo refere-se a uma dissertação de mestrado em Educação Ambiental, a
qual que teve como objetivo estabelecer um diálogo entre música, sociedade e Educação
Ambiental. Sendo assim, tem-se como problema de pesquia investigar de que forma a
música, por meio do rock and roll, vem contribuindo para pensarmos na crise ambiental
que se instala na atualidade. Para dar conta de responder a essa investiação
selecionaram-se letras de rock de sete bandas de diferentes países ocidentais que tratam
da temática ambiental, desde a década de 1990 até os dias atuais. Apoiada em autores
como Michel Foucault, Félix Guattari, Zygmunt Bauman, Isabel Carvalho, Leandro
Belinaso Guimarães, Maria Lúcia Castagna Wortmann, entre outros, a pesquisa analisou
as enunciações de natureza, meio ambiente e homem presentes nas letras que
compuseram o corpus de análise desta investigação. O caminho metodológico
selecionado para operar com o material empírico trata especificamente de algumas
ferramentas da análise do discurso, a partir de Michel Foucault. Na análise do material
posto em suspenso, a pesquisa apontou para dois enunciados potentes, os quais vêm
auxiliando na constituição do discurso da crise ambiental por meio de letras de rock and
roll: o homem como principal destruidor do planeta, este intitulado de
antropocentrismo; e o terror e medo pela perda do planeta. Com isso, evidenciaram-se
que ditos como esses, presentes nas letras de rock selecionadas, entram na ordem do
discurso verdadeiro no campo da Educação Ambiental, o que justifica a escrita dessa
dissertação. Sendo assim, ressalta-se a importância de atentarmos para rock and roll,
como um artefato cultural potente que vem nos auxiliando a olhar para crise ambiental,
interpelando-nos a constituir modos de ser e viver, diante de saberes e verdades
produzidas na e pela cultura, pois, diante dos significados travados por meio da cultura,
vamos engendrando nossos modos de vida, bem como estabelecendo relações com o
mundo em que vivemos. / The present study refers to a master`s degree dissertation in Environmental Education
which has as its objective to establish a dialogue among music, society and
Environmental Education. That said, this research problematizes how to investigate the
way music, through rock and roll, has been contributing to think about the
environmental crisis of our days. With the intention of problematize the way music,
through rock and roll, has been contributing to make us think about the environmental
crisis, it has been selected rock and roll lyrics from seven different western bands about
environmental themes, since the early 90 ́s to nowadays. Supported by authors such as
Michel Foucault, Félix Guattari, Zygmunt Bauman, Isabel Carvalho, Leandro Belinaso
Guimarães, Maria Lúcia Castagna Wortmann and others, the research analyzed
enunciations of nature, environment and men presented on the lyrics that composed this
investigation ́s analysis corpus. The methodological patch selected to operate with the
empirical material is specifically some speech analysis tools from Michel Foucault.
Based on the analysis of this material, the research lead to two strong statements, which
has been helping the formation of the environmental crisis speech through rock and
roll lyrics: the mankind as the main destructor of the planet, what is named as
anthropocentrism, and the terror and fear for the planet ́s losses. Whit this, it became
evident that sayings like those presented in the selected rock and roll lyrics agree with
the true speech on Environmental Education field, what justifies this dissertation. Thus,
it is highlighted the importance to pay attention to rock and roll as a strong cultural
artifact that has been assisting us to look to the environmental crisis, asking us to create
ways of being and living, in front of the knowledge and truths produced in and by the
culture, for the meanings locked by the culture, we engender our way of life and
establish relations with the world we live in.
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Western art canon versus Rock 'n' Roll: a comparative case study of two high school general music classesBell, Robyn Lee 08 April 2016 (has links)
High school general music classes often primarily consist of lectures about the Western art canon, despite repeated calls for a popular music focus (Deal, 1984; Miceli, 1998; Snell, 2007; Thompson, 1979; Woody, 2007). It is argued that the latter approach can alleviate student apathy toward class content and boredom, provide more meaningful learning experiences for the students, and create a more positive experience for the teacher.
The purpose of this study is to examine the experiences of students and teachers in both a traditional general music class and a popular music-focused general music class. In this qualitative comparative study, I studied two high school general music classes in Tennessee and investigated the experiences of the students and teachers with respect to subject matter, teaching techniques, and meaningful learning. My data sources were interviews with teachers and students, classroom observations, and classroom archival documents. I analyzed the data using interpretive coding guided by a constant comparative approach.
Cross-case emergent themes involving meaningful learning included students' preference for music studied at the end of the semester and a high level of student-teacher interaction and engagement when studying popular styles of music. Regarding curricula and teaching methods, cross-case themes showed similar attitudes and frustrations for teachers and students in both classes. Within-case themes in the Music for Listeners class included an expressed student desire to learn popular music, student lack of understanding of the Western art canon, and student ability to connect class topics to outside of school activities. Within-case themes in the Development of Rock 'n' Roll class illustrated the importance of delivery style and technology in the general music classroom.
I concluded that a combination of curriculum and teaching style produced differing experiences for the students and teachers. Based on the results of this study, suggestions for education profession include employing a genre of music that is meaningful to the students in their daily lives; engaging students in conversations about the music they enjoy; avoiding "busy work" and ensuring that assignments are relevant; and providing ample music listening opportunities.
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The Only Common Thread: Race, Youth, and the Everyday Rebellion of Rock and Roll, Cleveland, Ohio, 1952-1966Aritonovich, Dana 18 June 2010 (has links)
No description available.
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The Life and Career of Pete “Mad Daddy” MyersOlszewski, Michael Frank 11 August 2009 (has links)
No description available.
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On the Cover of <i>Rolling Stone</i>: What the Faces of Rock 'n' Roll Say about Music's Most Popular MagazineBetancourt, Mariel M. 25 April 2008 (has links)
No description available.
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Out of the Shadows: Breaking the Gender Barrier in Rock Journalism, from the 1950s to 2010Weinstein, Elizabeth M. 05 August 2010 (has links)
No description available.
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Rock ‘n’ Roll Took Me There: Its Effects Upon Individual and Communal Religious ExperienceWood, Matthew 14 November 2013 (has links)
From the claims of punk rocker GG Allin aiming to shed his own blood for Rock ‘n’ Roll to the religiously tinted narratives of Bruce Springsteen we come to find artists using religious references to color their artistic medium. A question arises: Could these utterances and narratives show a deeper meaning behind Rock ‘n’ Roll such that it can give individuals a way to obtain religious experience? This thesis aims at arguing for the ability of Rock ‘n’ Roll as having a way to incite feelings of religious experience and communitas. Through the usage of auto-ethnography coupled with subsidiary sources from academic to pop culture writers this thesis will investigate if such a creative form helps to enable individuals to experience transcendence and feelings of community while immersed in Rock ‘n’ Roll.
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Um passo à frente: história social de um rock brasileiroFernandes, Victor Guilherme Pereira 06 July 2016 (has links)
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Previous issue date: 2016-07-06 / O trabalho que se segue busca elucidar a história social do gênero musical rock and roll no
Brasil. Tal gênero tem sido tratado com certa indiferença por críticos e historiadores da música
popular, reduzindo sua história social a ondas de popularidade aparentemente desconexas, marcadas
pela jovem guarda e pelo surgimento do BRock na década de 1980. O tratamento dispensado ao
rock and roll produzido no Brasil na década de 1970 é residual, inclusive na academia, contribuindo
para a formação de uma imagem subdimensionada da produção musical daquele período. A
pesquisa tem início com uma reconstituição do campo de produção da música popular brasileira da
década de 1960, na qual se insere o nascente rock brasileiro, a fim de compreender como este
gênero estrangeiro é recebido e interage com os demais gêneros populares com os quais concorria.
Em seguida, procede-se a uma análise de trajetória com base na história da banda de rock A Bolha,
conjunto que atravessa a década de 1970 enfrentando a falta de espaço para o gênero e a falta de
interesse da mídia e da indústria fonográfica. Com isto, pretende-se descortinar as estruturas sociais
vigentes constritoras do desenvolvimento do gênero naquele período. Trata-se de uma época
marcada pelas restrições das liberdades civis em função do regime militar que vigorou de 1964 a
1985, o que foi, sem dúvida, fator fundamental para a conformação do campo de produção musical
daqueles anos. A década de 1970 assistiu à consolidação da MPB como gênero musical dominante
devido, entre outras coisas, ao prestígio acumulado na época dos festivais de música popular
televisionados, à posição de enfrentamento ao regime, adotada pelos artistas que a ela se filiavam, e
ainda, à aceitação da crítica e público consumidores por sua maior afinidade com as tradições
musicais brasileiras pregressas. Por meio de uma análise estrutural do campo de produção musical à
maneira bourdieusiana, pretende-se localizar os agentes tributários da constituição da representação
social erigida em torno do gênero rock and roll no Brasil, de modo que se possa compreender como
este segmento, que chegou a ameaçar o domínio da MPB em meados da década de 1960, passou a
ocupar praticamente apenas os canais e espaços independentes da produção cultural que compõem a
chamada “cena underground.” / The work that follows seeks to elucidate the social history of rock and roll musical genre in
Brazil. This genre has been treated with indifference by critics and historians of popular music,
reducing its social history the seemingly random waves of popularity, marked by the “Jovem
Guarda” and the emergence of “BRock” in the 1980s. The treatment of the rock and roll produced
in Brazil in the 1970s is residual, including the academy, contributing to the building of an
undersized image of the musical production from that period. The research begins with a
reconstruction of the Brazilian popular music production course of the 1960s, in which is included
the incipient Brazilian rock in order to understand how this foreign genre is received and interacts
with other popular genres which it contended with. A track analysis based on the rock band “A
Bolha” (The Bubble), that had to face the lack of space for the genre as well as the lack of interest
of the media and the music industry throughout the 70’s follows hereupon. It is intended to uncover
the existing social structures constricting the development of the genre in that period. That was a
time marked by restrictions on civil rights due to the military regime that ruled the country from
1964 to 1985, which was undoubtedly a key factor for shaping the musical production field of those
years. The 1970s saw the consolidation of Brazilian popular music as the dominant musical genre
owing to, among other factors, the prestigie accumulated by the Brasilian Pop Music Festivals
shown on TV at that time, the facing off agaisnt the political regime adopted by the artists that
joined it in, and yet, the acceptance of review critics and public consumers for their greater affinity
with former Brazilian musical traditions. Through a structural analysis of the music production field
to the Bourdieusian way, I intend to place the tax agents of the constitution of social representation
built around the rock and roll genre in Brazil, so that you can understand how this segment,
which threatened the MPB area in the mid-1960s, was to occupy only the channels and
independent spaces of cultural production that make up the so-called "underground scene."
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Um passo à frente: história social de um rock brasileiroFernandes, Victor Guilherme Pereira 06 July 2016 (has links)
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Previous issue date: 2016-07-06 / O trabalho que se segue busca elucidar a história social do gênero musical rock and roll no Brasil. Tal gênero tem sido tratado com certa indiferença por críticos e historiadores da música popular, reduzindo sua história social a ondas de popularidade aparentemente desconexas, marcadas pela jovem guarda e pelo surgimento do BRock na década de 1980. O tratamento dispensado ao rock and roll produzido no Brasil na década de 1970 é residual, inclusive na academia, contribuindo para a formação de uma imagem subdimensionada da produção musical daquele período. A pesquisa tem início com uma reconstituição do campo de produção da música popular brasileira da década de 1960, na qual se insere o nascente rock brasileiro, a fim de compreender como este gênero estrangeiro é recebido e interage com os demais gêneros populares com os quais concorria. Em seguida, procede-se a uma análise de trajetória com base na história da banda de rock A Bolha, conjunto que atravessa a década de 1970 enfrentando a falta de espaço para o gênero e a falta de interesse da mídia e da indústria fonográfica. Com isto, pretende-se descortinar as estruturas sociais vigentes constritoras do desenvolvimento do gênero naquele período. Trata-se de uma época marcada pelas restrições das liberdades civis em função do regime militar que vigorou de 1964 a 1985, o que foi, sem dúvida, fator fundamental para a conformação do campo de produção musical daqueles anos. A década de 1970 assistiu à consolidação da MPB como gênero musical dominante devido, entre outras coisas, ao prestígio acumulado na época dos festivais de música popular televisionados, à posição de enfrentamento ao regime, adotada pelos artistas que a ela se filiavam, e ainda, à aceitação da crítica e público consumidores por sua maior afinidade com as tradições musicais brasileiras pregressas. Por meio de uma análise estrutural do campo de produção musical à maneira bourdieusiana, pretende-se localizar os agentes tributários da constituição da representação social erigida em torno do gênero rock and roll no Brasil, de modo que se possa compreender como este segmento, que chegou a ameaçar o domínio da MPB em meados da década de 1960, passou a ocupar praticamente apenas os canais e espaços independentes da produção cultural que compõem a chamada “cena underground.” / The work that follows seeks to elucidate the social history of rock and roll musical genre in Brazil. This genre has been treated with indifference by critics and historians of popular music, reducing its social history the seemingly random waves of popularity, marked by the “Jovem Guarda” and the emergence of “BRock” in the 1980s. The treatment of the rock and roll produced in Brazil in the 1970s is residual, including the academy, contributing to the building of an undersized image of the musical production from that period. The research begins with a reconstruction of the Brazilian popular music production course of the 1960s, in which is included the incipient Brazilian rock in order to understand how this foreign genre is received and interacts with other popular genres which it contended with. A track analysis based on the rock band “A Bolha” (The Bubble), that had to face the lack of space for the genre as well as the lack of interest of the media and the music industry throughout the 70’s follows hereupon. It is intended to uncover
the existing social structures constricting the development of the genre in that period. That was a time marked by restrictions on civil rights due to the military regime that ruled the country from 1964 to 1985, which was undoubtedly a key factor for shaping the musical production field of those years. The 1970s saw the consolidation of Brazilian popular music as the dominant musical genre owing to, among other factors, the prestigie accumulated by the Brasilian Pop Music Festivals shown on TV at that time, the facing off agaisnt the political regime adopted by the artists that joined it in, and yet, the acceptance of review critics and public consumers for their greater affinity with former Brazilian musical traditions. Through a structural analysis of the music production field to the Bourdieusian way, I intend to place the tax agents of the constitution of social representation built around the rock and roll genre in Brazil, so that you can understand how this segment, which threatened the MPB area in the mid-1960s, was to occupy only the channels and independent spaces of cultural production that make up the so-called "underground scene."
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