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Songs like Chico Fininho, by Rui Veloso and the Banda Sonora, and Cavalos de Corrida, by the group UHF, were the first hits of the "Portuguese rock boom", an expression referring to the first moment ...of great commercial success for rock repertoire recorded and published in Portugal. At the beginning of the 1980s, "Portuguese rock" was central to the consolidation of a "modern" and cosmopolitan youth identity that increasingly identified with habits and lifestyles from the Anglo-American cultural universe. The intensification of the editorial commitment to this repertoire led to the emergence of new groups, record producers, sound companies and artist agencies, as well as the reconfiguration of the characteristics of various bands that sought to align themselves with the phenomenon, including the growing use of the Portuguese language, an aspect that until then had often been disregarded in the context of rock music. This book analyses the main changes that took place in rock practices in Portugal during the second half of the 1970s and early 1980s, looking at the links between the various music industries and the role of their agents as active participants in shaping the activity of the groups and their respective repertoires.
Canções como Chico Fininho, de Rui Veloso e a Banda Sonora, e Cavalos de Corrida, do grupo UHF, constituíram os primeiros êxitos do «boom do rock português», expressão referente ao primeiro momento de grande sucesso comercial de repertório rock gravado e publicado em Portugal. No início da década de 1980, o «rock português» foi fulcral na consolidação de uma identidade juvenil «moderna» e cosmopolita crescentemente identificada com hábitos e estilos de vida provindos do universo cultural anglo-americano. A intensificação da aposta editorial neste repertório motivou o aparecimento de novos grupos, produtores fonográficos, empresas de som e de agenciamento de artistas, assim como a reconfiguração das características de várias bandas que procuraram alinhar-se com o fenómeno, inclusive no crescente recurso à língua portuguesa, aspecto até então frequentemente desprezado no âmbito do rock. Neste livro, são analisadas as principais transformações ocorridas nas práticas do rock em Portugal durante a segunda metade da década de 1970 e inícios da década de 1980, contemplando a articulação entre as várias indústrias ligadas à música e o papel dos seus agentes enquanto participantes activos na configuração da actividade dos grupos e dos seus respectivos repertórios.
This article delves into the editorial processes that triggered the so-called ‘boom of Portuguese rock’ of the early 1980s, a term commonly used to denote the initial surge of commercial success for ...rock music created, recorded, and released in Portugal. I aim to spotlight the changes that shaped the development of rock music in Portugal at the turn of the 1970s to the 1980s, emphasizing the pivotal role of the record company Valentim de Carvalho in this period. During the late 1970s, shifts in the record publishing personnel significantly contributed to the primary upsurge in commercial success of records released by Portuguese rock bands and sung in Portuguese. The debut of Chico Fininho by Rui Veloso & A Banda Sonora and Cavalos de Corrida by UHF, both released by Valentim de Carvalho in 1980, were inaugural milestones of this success. By connecting this phenomenon with the various social and political transformations of that time, I explore the interplay between editors and musicians at Valentim de Carvalho, whose staff actively engaged in shaping the musical endeavours of these groups and their repertoire.
Background: The aim of this paper is to find evidence of a changing pattern in cover songs by 21st-century artists. To this end, over 76,000 covers performed by artists who grew up in the 2000s were ...quantitatively analyzed. Methods:
SecondHandSongs.com was crawled to extract the cover relationships, and
Allmusic.com to obtain the genre and starting decade of each performer. Results: The results show that the current music panorama is dominated by Pop/Rock music and, for the first time since the 1960s, artists from the 2010s generation prefer to cover more songs by contemporary artists than by classic figures from the 1960s. Pop and Dance are the emerging sub-genres with the largest proportion of covered musicians, while Taylor Swift, Justin Bieber and Ed Sheeran are responsible for this changing trend. Conclusions: These results provide an interesting opportunity to introduce quantitative studies in cultural studies about music, cinema and arts.
O principal objetivo deste artigo é analisar as representações sociais do rock alternativo em Portugal entre 1980 e 2010; parte de uma pesquisa mais ampla sobre os 30 anos de modernização do país (a ...partir do período pós-revolucionário iniciado em 1974), em que o rock alternativo é considerado uma prática social significativa no âmbito da estrutura social, artística e musical do país. Consideramos que o rock alternativo é um assunto que pode ser iluminado pela teoria dos campos de Bourdieu, que utilizamos para explorar a complexidade das relações que substanciam as estruturas subjacentes (de bandas, músicos, agentes, locais de eventos, editoras e promotores) do rock alternativo português. Os dados utilizados são resultado de uma pesquisa de longo prazo realizada entre 2005 e 2010, em que foram realizadas entrevistas em profundidade com mais de 200 indivíduos envolvidos nas esferas de produção e publicação do segmento de rock alternativo português.
Professional musicians (PMs) are at high risk of developing hearing loss (HL) and other audiological symptoms such as tinnitus, hyperacusis, and diplacusis. The aim of this systematic review is to ...(A) assess the risk of developing HL and audiological symptoms in PMs and (B) evaluate if different music genres (Pop/Rock Music-PR; Classical Music-CL) expose PMs to different levels of risk of developing such conditions. Forty-one articles including 4618 PMs were included in the study. HL was found in 38.6% PMs; prevalence was significantly higher among PR (63.5%) than CL (32.8%) PMs; HL mainly affected the high frequencies in the 3000-6000 Hz range and was symmetric in 68% PR PMs and in 44.5% CL PMs. Tinnitus was the most common audiological symptom, followed by hyperacusis and diplacusis. Tinnitus was almost equally distributed between PR and CL PMs; diplacusis was more common in CL than in PR PMs, while prevalence of hyperacusis was higher among PR PMs. Our review showed that PR musicians have a higher risk of developing HL compared to CL PMs; exposure to sounds of high frequency and intensity and absence of ear protection may justify these results. Difference in HL symmetry could be explained by the type of instruments used and consequent single-sided exposure.
This article explores how foreign, recently imported cultural forms can redefine the dynamics of legitimation in national cultural fields. Drawing on archival research, the article discusses the ...early consecration of Anglo-American pop-rock in 1970s Italy and analyzes the articles published by three specialist music magazines. Findings reveal the emergence of a shared pop-rock canon among Italian critics, but also that this “cosmopolitan capital” was mobilized to implement competing editorial projects. Italian critics promoted both different strategies of legitimation vis-à-vis contemporary popular music and opposite views of cultural globalization as a social process. Theoretically, the article conceptualizes “aesthetic cosmopolitanism” as a symbolic resource that can be realized through competing institutional projects, rather than as a homogeneous cultural disposition.
Abstract
In AABA songs (sometimes called verse–bridge songs) written and performed by the Beatles, the song texts’ scansion and rhyme show significant contrasts between different sections, and these ...contrasts often have important formal and narrative functions. Combining rock Formenlehre with phonetic analysis, this article shows that A modules tend to have irregular scansion and frequent rhyme, while B modules tend to show regular scansion and less frequent rhyme. In the unusual cases where A modules have infrequent rhyme, the B modules tend to offer contrast by showing greater rhyme frequency. These contrasts represent an independent, recurring formal device in the Beatles’ catalogue that does not entirely comport with other well-defined formal processes, such as the loose-verse/tight-chorus schema. The scansion and rhyme have various narrative and formal functions: They often suggest a contrast between an active and passive state in the song’s protagonist, and disruptions to regular patterns or conflict with grammatical boundaries can play a critical role in shaping phrases. B modules that thwart the norm can connote an especially high emotional arousal or suggest a process of intensification and conclusion, linking the form to an expanded statement–response–departure–conclusion form. The analyses demonstrate the central role that prosody often plays in popular song and show the importance of considering its relation to other musical patterns.
Cet article propose de s’intéresser au discours amoureux et à la représentation de l’amour dans les chansons produites pendant la Movida, ce phénomène socio-culturel qui se développe à Madrid à ...partir de la mort du général Franco en 1975, c’est-à-dire dans un contexte de libération sexuelle et d’émancipation des femmes. L’amour se chante alors dans un style allant de la bluette sentimentale, dans laquelle se retrouve toute une génération de trentenaires à l’adolescence volée par la morale franquiste, à un érotisme trash illustrant clairement le désir de profiter à l’extrême des libertés retrouvées, l’humour permettant parfois de dépasser davantage les limites.Il se base sur l’étude de 108 chansons d’amour espagnoles qui, tout en témoignant des changements de mœurs de l’époque, participent aussi largement à la modification des comportements de toute une génération de jeunes espagnols, et à la création de l’illusion collective d’un Madrid moderne et décomplexé, largement promue par les politiques et les médias.
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