Rolling Stones Frei-Hauenschild, Markus; Von Appen, Ralf
MGG Online,
08/2021
Reference
Nachdem Mick Jagger (*1943 in Dartford/Kent; Gesang, Gitarre, Klavier, Mundharmonika) und Keith Richards (*1943 in Dartford; Gitarre, Gesang, Bass) sich 1961 anlässlich ihrer gemeinsamen Begeisterung ......
In surfing the waves of COVID-19 and the current socio-political culture of alarm, uncertainty, and anxiety, I describe how exploring works by Mark Rothko, the Rolling Stones, and Henri Matisse ...helped me find grounded experiential footing during the pandemic. Rothko's multiform and later paintings encouraged exploration of the soul, experiences of the ineffable, of life-and-death. In contrast, the Rolling Stones inspired me to feel my heart, my beat, my connectedness to rhythm and knowledge that presence rests on interpersonal connection. Finally, as seen in The Red Studio, Matisse and his use of color re-vivify the experience of living, and provided a roadmap back to optimism.
AABA form was in decline in popular music in the 1960s, yet the Rolling Stones made extensive use of it at a crucial point in their career. In this article I examine the relationship between ...Jagger-Richards AABA songs released between 1963 and 1971 and established AABA norms. I use a corpus of 138 AABA songs (112 by other artists and 26 by Jagger-Richards) to compare the Stones’ approach to elements such as starting and ending bridge harmonies and verse melodic form with existing defaults. The analysis shows that the band’s approach to AABA in this time period bifurcates into two strategies, each associated with a tempo extreme: either (1) using the form ironically to critique wealth and privilege, or (2) employing it in a sincere way that invokes soul and gospel artists and thereby claims authenticity for the band.
Play with Closing Markers HEETDERKS, DAVID
Music theory spectrum,
04/2020, Letnik:
42, Številka:
1
Journal Article
Recenzirano
In 1960s pop/rock, the end of a prechorus often uses text, breakaway from harmonic loops, hypermeter, or a change of melody to heighten expectation for tonic harmony and create structural closure. ...Songs harness this heightened expectation to underscore the importance of the chorus and illustrate the singer’s lyrics. These closing markers provide a wide range of expressive and formal options by creating various cadential effects, including a closed cadence overlapping with the chorus, an open cadence before the chorus, or—in passages often depicting marked emotional states—conflicting formal cues.
Uncharacteristic of a Jean-Luc Godard film from the 1960s, Sympathy for the Devil (1968) is largely ignored in Godard scholarship, dismissed as a high-profile, minor work that squanders its ...political-cum-'rockumentary' pretensions by diverging into quotidian Rolling Stones footage and esoteric didacticism. Yet considering its status as Godard's first commercial documentary, especially in the light of his written tirades against the mode in Cahiers du Cinéma, the perceived shortcomings of the film reveal a calculated self-effacement that criticizes what it ostensibly participates in. Substantiated by interviews, criticisms, a shelved omnibus entry and the unrealized potential of One Plus One (Godard's intended title), this article proposes that Sympathy for the Devil is most effectively understood as Godard's indictment of the documentary mode, borrowing methodological signatures from the era's two divergent 'truth' cinemas-direct cinema and cinéma-vérité-only to subvert their aims with a perversion of techniques, admission of exploitative practices and a bevy of political rhetoric that collates the new schools' tenability to 'truth' with the propagandist, Griersonian model they first sought to displace. Resituated as an extension of his polemics, Sympathy for the Devil offers valuable insight into Godard's political project, and helps consolidate his views on filmic reality.
Lied und pouläre Kultur/Song and Popular Culture, das Jahrbuch des Zentrums für Populäre Kultur und Musik, erforscht unter verschiedenen Schwerpunktthemen populäre Musikkulturen in Vergangenheit und ...Gegenwart. Kultur-, mentalitäts- und mediengeschichtliche Fragestellungen spielen dabei eine herausragende Rolle, etwa das Verhältnis von Musik und Lied zu Politik, Religion und Bildung.
Ergänzt wird das Jahrbuch grundsätzlich durch einen umfangreichen Rezensionsteil, der einen guten Überblick über die aktuellen musikwissenschaftlichen Publikationen gibt.
Der diesjährige Band widmet sich dem Thema „Lieder als Medien des Erinnerns“. In den einzelnen Beiträgen werden u.a. folgende Schwerpunkte behandelt: Lieder russlanddeutscher Immigranten in Amerika; studentische Erinnerungslieder im 19. und 20. Jahrhundert; das Gotteslob als musikalischer Erinnerungsort; sowjetische historische Lieder im 20. Jahrhundert; der Sound von 1968; die Praxis des Erinnerns in der Kulturwelt Heavy und Extreme Metal oder auch die Rolle von Liedern und populärer Unterhaltungsmusik in der Arbeit mit an Demenz erkrankten Menschen.
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