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The connection between pop-rock and youth culture is as old as the music itself, and usually appears in a triangle whose third vertex is rebellion. My analysis of the subject shows that the precedence accorded to resistance and rebellion in the thought about the music is inseparable from the privileged position that is granted to the cultural construct of youth in the pop-rock discourse.
Through a critique of pop-rock's underlying 'youthcentrism', I argue that conventional narratives of the mythology of youth, with all of its inherent problematics, have been displaced into common patterns of thought about music.
However, these problematics also indicate a possible solution, since the discourse of youth always carries within it, as a silent partner, the notion of childhood and childlikeness. By changing our perspective in order to focus on childlikeness, I suggest, we can start and rethink the music from a new and more productive vantage point.
My discussion of childlikeness begins in the fifth chapter. This chapter opens with a historical survey of the various representations of childhood in the western world, from the middle ages to the present, while giving special attention to certain notions that had a decisive role in shaping our contemporary thought about the figure of the child: the angelic, innocent child of romanticism, the psychoanalytic unconscious as a repository of repressed childhood experiences that persist in the adult mind, and the late twentieth century fears about the disappearance of childhood and the respective infantilization of adulthood.
The sixth and final chapter is dedicated to locating, identifying, describing and analyzing five recurring strategies of becoming-child in pop-rock which correspond to five major philosophical concerns: language, time, the body, subjectivity, and epistemology.
Regarding the issue of language, my work points to the fact that song lyrics are often utilized in order to enable a childlike experimentation in the bodily production of language, carried out by such means as repetition, baby-talk, nonsense, glossolalia and various childlike vocal mannerisms. Thus, I offer a new approach to the analysis of the role of language in pop-rock, one which I believe should prove in many cases to be more fruitful than interpreting song lyrics as a literary text, criticizing their banality or just ignoring them altogether.
The childlike treatment of time is accomplished through nostalgia. However, my research here shows that the music actually had strong nostalgic undercurrents from very early on, displaying a clear yearning towards bygone eras, whether real or fantastic, as well as towards the blissful state of existence that is traditionally associated with early childhood.
From its very beginning, pop-rock was held to be a vehicle for the expression and liberation of sexuality, yet a detailed investigation reveals that it is also saturated with numerous moments of childlike asexuality, of celibacy and physical awkwardness, fear of sex and rejection of puberty.
A true rebellion would most probably constitute of something much more than immature public stunts brought about by acts of bravado. Assuming youth who rebel through music are really able to do something much more radical and cause some sort of a rebellion, one would realise that ultimately, they will still have to submit to another authority, the police. There is also no proof that shows all males and females having identical perceptions towards music.
Youth is a category consisting of young people from both genders. Females alone do not, and are not enough to represent youth as a whole. Therefore, the inexistence of male sentiment results in skewed conclusions, directing the focus to how some females evince their rebellion through music.
In conclusion, although Wendtland has a relatively limited argument showing how youth identify themselves by rebellion through music, credit should still be given to her for being able to explain how youth vicariously live through a certain kind of music and in doing so, aid readers in relating to some youth who, like her, identify themselves using this method.
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Why do you think legazpi succeeded in befriending rajah tupas and the cebuanos? The ancestry of music is one of the earliest forms of communication that has served as a tool for entertainment as well as holding educational purposes Pleasants Over time, thousands of different styles and genres have evolved to make up the diverse world of music that is available for different preferences and interests.
With this said, it is understandable that there are many different perceptions and interpretations that have a large impact on contemporary music. Each and every one of us has our own preferences for different beats, rhythms and lyrics that are valuable to ourselves however seem distasteful and possibly obnoxious to others.
In these following paragraphs we will further examine the concept of rebellion within the musical institution and how it in fact plays a significant role on the evolution of contemporary music. The definition of music is highly variable across different cultures, age groups and audiences.
These opinions are what motivate composers to continue creating new and innovative rhythms, tempos, tones and styles. Each of these movements has evolved with new ideas, technologies, artists, and audiences. Rebellion is a commonality to all of these different movements and is responsible for the uniqueness of each genre. It is a concept that often is perceived with a negative connotation while in fact it is a form of expression that is used all the time to convey new ideas.
This description is perhaps why so many people often consider elements of rebellion as being destructive and vicious when in fact rebellion in music is a significant source for innovation. It is depicted through aspects such as fashion, hair styles, drugs, sex, art and politics. Each different period in musical history represents a plethora of new ideas, opinions and attitudes that are expressed through various forms of rebellion that has permitted the emergence and existence of so many brilliant advances in contemporary music.
During this time, people started breaking free of the traditional attitudes and norms that had existed for so long. The era was full of social reformation and alterations from the mainstream, traditional life.
In cities across the world, particularly for the British population who was recovering from repercussions of The Second World War, this was a significant time in which individuals were able to experiment with new music, people and culture. Adolescents became more outspoken, open- minded and eager to adopt different attitudes. The former fashion was now being replaced with different hair styles, costumes and general clothing that fit the psychedelic scene. The Psychedlic phase lasted only a few years, and yet the impact on contemporary music is apparent in many forms presently.
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