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Adolescent preferences for non-mainstream types of rock music can be markers of adolescent problem behaviors, but no study has ever investigated whether this relationship continues into adulthood. In a six-wave study, 900 Dutch adolescents were followed from ages 12 to 21 (Mage T1 12.4, 51.1% girls), while reporting on depressive symptoms, mental well-being, aggression and drug use. A latent class growth analysis on their preferences for specific types of rock music revealed four fan groups. When these fan groups were compared to one another, in adolescence, the all-out rock fans displayed the highest peak in depressive symptoms and the lowest dip in well-being and the rock/metal fans reported the most aggression. And for both these groups, drug use increased at the onset of adulthood. Pop fans displayed a profile characterized by low depressive symptoms and aggression, and high in mental well-being. Finally, the popular rock fans held an in-between position between pop fans, on one side, and the all-out rock fans and rock/metal fans, on the other side. Thus, music preferences can be markers of problems, not only in adolescence but also in young adulthood. Still, music can enhance mood, helps to cope with problems, and peers in fan groups can provide support. This research focuses on the relationship between music and problem behaviors, specifically among members of the all-out rock fans and rock/metal fans, but many of these young people might have had more personal problems if they had not had their music and their fan-group peers., (© 2021. The Author(s).)

I make use of the characteristics of more than 6000 rock bands to empirically analyze if and how the stability of their members helps them to get a higher level of success. Bands cover all genres of Rock music (from Country to Punk), and their performance is assessed by having a song ranked in Billboard 100. Analyzing how the turn-over of members of a band affects their performance, it appears that the total number of musicians that left the band (compared to the actual number of musicians) – used as an indicator of instability –positively impacts the probability of a success. This may reveal that more talented musicians tend to be recruited after the departure of founding members, or that new members bring fresh ideas. The latter interpretation is supported by another result, showing that solo artists have a higher probability of success than bands. Finally, I also show that bands that come back to the stage after a split do not perform better. [ABSTRACT FROM AUTHOR]

The purpose of the paper is to highlight the peculiarities of vocal improvisation in rock music. The historical and theoretical aspects of the research problem are characterised, the works of famous rock singers whose vocal improvisation has become an integral part of their musical activity are analysed. Research methodology. To achieve this goal, a set of methods was used, namely: general scientific methods - analysis, synthesis, generalisation, systematisation - were used to develop the problem; specific scientific methods: historical-genetic and retrospective analysis, which clarified the formation and development of rock music; comparative and contrastive analysis, which was used to outline vocal improvisation in rock music; biographical method, which was used to analyse vocal improvisation in the activities of famous rock singers. The scientific novelty lies in the fact that for the first time the features of vocal improvisation in rock music are presented. Conclusions. The article focuses on the concept of "vocal improvisation" (the process of creating music with the voice without pre-prepared musical or textual materials), reveals its essential aspects in rock music, which are hidden in a special tension, energy, emotional load, melody, smooth transitions between notes, the use of a rough voice, special effects such as echo, reverb, vocal filters. The features of vocal improvisation are analysed on the example of the works of Freddie Mercury (rock band "Queen"), Robert Plant (rock band "Led Zeppelin"), Steven Tyler (rock band "Aerosmith"). It has been found that a wide vocal range, the use of high notes, spontaneous vocal phrases and sounds are characteristic of Freddie Mercury ("Bohemian Rhapsody", "Galileo", "Someone to Love"). Whereas strong, expressive vocals and the ability to vary vocal riffs characterize Robert Plant ("Whole Lotta Love", "Dazed and Confused", "Black Dog") and Steven Tyler ("Dream", "Sweet Emotions", "Mama Kin"). The focus is on vocal improvisation in rock music of the early ХХІ century, which is characterized by eclectic styles, the use of technology, and variations in lyrics. [ABSTRACT FROM AUTHOR]

The Cranberries have been considered to be one of the major rock bands from Ireland. From 1993 until 2019, they released eight studio albums, and hit the world charts with songs such as “Linger” and “Zombie”, before disbanding following singer Dolores O’Riordan’s death. After two very successful and critically acclaimed records, The Cranberries’ third release To The Faithful Departed (1996) became the target of harsh criticism, as the press considered it to be lyrically shallow. As a result, The Cranberries’ third album has been traditionally analysed in that way. This paper aims at providing a new, comprehensive analysis of The Cranberries’ To The Faithful Departed by bringing the band’s then recently achieved stardom into focus, as such an experience had a significant impact on the four members’ emotional state, and hence in the songwriting. Thus, it is hoped that the present article will provide a greater understanding of how the lyrics of The Cranberries’ 1996 album reflect the struggles of a band achieving celebrity status in the music industry. This essay can be viewed as innovative for two reasons: firstly, there has been a lack of academic research on The Cranberries, and secondly, it offers a new reading of their third record To The Faithful Departed.

Editorial para o Dossiê “55 anos de Sgt. Pepper´s Lonely Hearts Club Band”, com editora convidada Dra. Maria Beatriz Cyrino Moreira, da Universidade Federal da Integração latino-americana – Brasil. [nota do editor]

O presente artigo pretende contribuir para a memória do rock na região de Aveiro em Portugal através dos testemunhos de músicos que integraram conjuntos de rock cuja atividade decorreu entre os finais da década de 1950 e 1990. Interessa-nos a dinâmica gerada na região pela recepção do rock internacional que conduziu à criação dos conjuntos de rock através de iniciativas locais. Para isso importa caracterizar o contexto social, económico e político em que esses conjuntos emergiram, as suas motivações, os repertórios escolhidos, as dificuldades que enfrentaram, e as transformações a que estiveram sujeitos. Essas transformações abrangem diferentes aspetos que se articulam diretamente com a forte alteração política que decorre da revolução de Abril de 1974 e suas consequências no domínio do acesso à educação, às possibilidades de profissionalização e às tecnologias de suporte no quadro do mercado da música.

Esse artigo é dedicado a fazer uma análise da forma musical e dos encadeamentos harmônicos da canção “Sgt. Pepper’s Lonely Hearts Club Band”, primeira faixa do álbum homônimo, e de sua Reprise que ocorre na faixa 12. Na análise formal serão usados conceitos da teoria das funções formais desenvolvidas por William Caplin para o repertório clássico e adaptada para a análise de Rock por Drew Nobile. As duas faixas serão primeiramente consideradas em separado, mas depois analisadas como sendo uma única canção. Na análise harmônica serão utilizados conceitos desenvolvidos por Walter Everett e Nicole Biamonte em que os acordes são gerados a partir das notas das pentatônicas.

he Cranberries have been considered to be one of the major rock bands from Ireland. From 1993 until 2019, they released eight studio albums, and hit the world charts with songs such as “Linger” and “Zombie”, before disbanding following singer Dolores O’Riordan’s death. After two very successful and critically acclaimed records, The Cranberries’ third release To The Faithful Departed (1996) became the target of harsh criticism, as the press considered it to be lyrically shallow. As a result, The Cranberries’ third album has been traditionally analysed in that way. This paper aims at providing a new, comprehensive analysis of The Cranberries’ To The Faithful Departed by bringing the band’s then recently achieved stardom into focus, as such an experience had a significant impact on the four members’ emotional state, and hence in the songwriting. Thus, it is hoped that the present article will provide a greater understanding of how the lyrics of The Cranberries’ 1996 album reflect the struggles of a band achieving celebrity status in the music industry. This essay can be viewed as innovative for two reasons: firstly, there has been a lack of academic research on The Cranberries, and secondly, it offers a new reading of their third record To The Faithful Departed. [ABSTRACT FROM AUTHOR]

El presente artículo aborda la relación entre las características sonoro-musicales de las prácticas tradicionales del Ande y la etnicidad andina manifestadas en la práctica actual del rock en el Perú. Este estudio analítico-descriptivo está enfocado en la creatividad musical de la banda peruana de rock Uchpa, conformada en el año 1991 en el departamento de Ayacucho. En la primera sección se describe el contexto histórico y político en el cual surgió la banda y se analiza su rol en el aspecto performativo al manifestar un sentido identitario respecto de lo andino y, concretamente, lo incaico. En la segunda sección se profundiza en el análisis musical para develar de qué manera los aspectos significativos de la banda constituyen una práctica de etnicidad en torno a su resultado estético musical.

At the end of 2017, discomforts among women musicians were publicly manifested due to the low presence of women in certain emblematic musical events. In a short time, this complaint became a shared claim, a focused questioning through which a series of actions were developed by women and non-binary people tending to think about the conditions of work in the musical field from systemic logics of gender discrimination. One of the most relevant actions was the creation of a law for women's quotas at festivals. Through participant research, the following article analyzes recent events that have occurred around the music festivals of Argentina, highlighting the use of statistical studies on musical activity with a gender perspective as a powerful tool to identify and act on the problem. This work is part of a research project that seeks to understand the specific ways through which gender inequalities have been expressed in Argentina.

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In this article, we will learn about the role of music culture in the formation of a perfect person, the development of a harmonious personality and the impact of music on the psyche; we learn through new research by orientalists and musical works and translations by medieval orientalists. [ABSTRACT FROM AUTHOR]

En la historiografía del rock peruano la nueva ola es asumida como un movimiento musical correspondiente a un estilo particular, marcadamente opuesto a la concepción de la música rock. Este artículo muestra que, en el Perú, en la década del sesenta del siglo xx, lo que se llamaba nueva ola no denotaba expresamente un estilo musical, sino un género y una escena de práctica musical integrada por músicos, agrupaciones, oyentes, sellos discográficos y medios de prensa, en la cual coexistían diversos subgéneros musicales, como el rock ’n’ roll, el twist, el surf rock, la canción pop melódica y la balada. Su asunción como un estilo opuesto al rock corresponde a una construcción historiográfica que tiene su base en una idealizada autenticidad del rock.

La participación del rock en el desarrollo de comunidades musicales en el Perú es un tema no explorado dentro del ámbito académico. En la construcción de los modelos nacionales y regionales de una musicalidad propia, las músicas populares urbanas de origen extranjero no han sido consideradas; tampoco lo han sido como elementos en la formación de una identidad regida por los parámetros del discurso del Estado-nación. En este trabajo, exploramos las confrontaciones y dicotomías que mantienen el tema del rock como ajeno y a las comunidades musicales del rock nacional, como lejanas.

We set out to perform a cluster analysis of harmonic structures (specifically, chord-to-chord transitions) in the McGill Billboard dataset, to determine whether there is evidence of multiple harmonic grammars and practices in the corpus, and if so, what the optimal division of songs, according to those harmonic grammars, is. We define optimal as providing meaningful, specific information about the harmonic practices of songs in the cluster, but being general enough to be used as a guide to songwriting and predictive listening. We test two hypotheses in our cluster analysis — first that 5–9 clusters would be optimal, based on the work of Walter Everett (2004), and second that 15 clusters would be optimal, based on a set of user-generated genre tags reported by Hendrik Schreiber (2015). We subjected the harmonic structures for each song in the corpus to a K-means cluster analysis. We conclude that the optimal clustering solution is likely to be within the 5–8 cluster range. We also propose that a map of cluster types emerging as the number of clusters increases from one to eight constitutes a greater aid to our understanding of how various harmonic practices, styles, and sub-styles comprise the McGill Billboard dataset.

In 2002, System of a Down frontman Serj Tankian joined an increasingly vocal movement within the American alternative music scene by denouncing the presidency of George W. Bush. Tom Morello, of platinum selling bands Rage Against the Machine and Audioslave, agreed that Bush should be tried as a war criminal if the United States invaded Iraq. When the Iraq war did begin the following year, both men used their platform to create anti-war, anti-Bush music intended to galvanise the American public against what they felt was an unjust conflict. These are two examples of a larger anti-war sentiment during the Bush presidency within the subgenres of rock, punk and metal music. The social impact of these anti-Bush musical protests formed an integral part in the overarching anti-Bush movement across the United States. This provided a focal point for the young and disaffected to channel their resentment, leading to increased engagement, particularly in 2004 as part of the well-supported Punk Voter movement, led by NOFX singer 'Fat' Mike Burkett and future Obama administration advisor Scott Goodstein, and through Tankian and Morello's Axis of Justice organisation, which worked to promote awareness of government policy through activism and information broadcasts over the internet [ABSTRACT FROM AUTHOR]