Robeson

Rock Music
Rock music is a genre of music that has faced a huge number of critics and complaints over its history. It began through an evolution of jazz and folk music and morphed into one of the leading genres of its time. It has faced opposition from religious fanatics, concerned mothers, musicians, and the like, for all aspects This is a look into how music is viewed by critics, what effect it has on listeners, its varying level of success in terms of market value, and the process of creation that it has gone through over the past 75 years. Rock music has an effect on various parts of culture. It has a large control over the music charts, has effected fashion throughout its career, and has been a source of escape for many people. It has under-gone numerous changes since its inception, which led to the creation of all kinds of sub-genres. We will look at the earliest onslaught of rock music and its morphology from jazz and blues into rock and roll into pop- rock, and so on. There will be a focus on the main aspects of the annotated bibliography, including journalism about rock music (Brennan, 2013; Denning, 1984; Durant, 1985; Powers, 2012; Turrini, 2013), components of the music (Hesselink, 2014; Racic, 1981; Rings, 2013), psychological analysis of the music and musicians (Appel, 2014; Regev, 2011), and an argument over whether rock music should be considered a Fine Art (Durant, 1985; Gracyk, 1993; Lacher, 1994; Powers, 2012; Regev, 2011). When rock music first began, it was a time when a lot of new journalists were looking for something to write about. The music gave them not only a new topic to discuss but also gave them an entirely new outlook on life (Denning, 1984) These journalists took a look into the every part of rock music, from the technical to the overarching themes that appeared (Durant, 19985).

Robeson For every type of rock music, there was a journalist who was ready to report. As rock music grew and expanded, the journalists followed (Turrini, 2013). Whilst journalist was extremely important in the record keeping of rock music, the logistical aspects of the music were vital. The composition of rock music is often discussed, as well as is the aesthetic validity. This often goes in hand with the instruments used to create that sound. The pitch and quality of such instruments is often what makes a song so well known (Racic, 1981). This fame that can be attributed to so many rock songs is often the reason why many other musicians try to do covers (Rings, 2013). The bond and mutual respect of playing an instrument is often what draws musicians together. Composition is so much respected in the musical community that it is often immolated by other musicians (Hesselink, 2014).

The Psychologists that study rock music tend to look at specific sections that make up the whole. One aspect that is often analyzed is the lyrics. The lyrics of rock often come in variety but there tends to be some motifs that appear, such as the child-like aspects (Appel, 2014). Not only are the lyrics called into question, but the aesthetic value and creative process are often as well (Regev, 2994; Racic, 1981). It is important that a creative entity assess these aspects when making the rock music because, according to these Psychologists, it is a direct representation of rock music as an art form. One of the few gaps in the articles about rock music is that whilst many focus on rock as a Fine Art, there seems to be few who consider musicians opinions. It seems that whilst many have their own opinions on the subject, little information is available from any other perspective. The musicians should have the most important opinion because it is their responsibility to make

Robeson the music that is under speculation. It may also be pertinent to look into the opinions of art critics, as they have an important outlook as well. Rock music is dynamic and opinionated, much like the musicians that create it. As rock has evolved, many journalist and music experts have argued that it should be considered a Fine Art. As a solution for this gap in information, I propose a project that would assess the opinions of both rock musicians and Fine Art critics.

I would create two separate surveys, each with similar questions, which would be handed out to both groups. The musicians survey would be roughly 20 questions long, and would consist of questions such as: What instrument (s) do you play? How old are you? When did you first become interested in rock music? What is your opinion on whether rock music should be considered a Fine Art?

The survey to the art critics would be similar in content, with exception to the questions that specifically pertain to musicians. The Surveys would be handed out to different age groups, possibly over Survey websites or passed on through networks of critics and musicians. I would allow the survey to be open for a total of three weeks, and each would able to be taken of up to 100 people. Once the survey was closed, I would compile the data. In order to better assess the information, I would create multiple graphs. The two groups would be compared side by side in order to see what it is that each group feels. Once all of the data is compiled and the graphs are made, I would write a brief article discussing my findings. I would expect that the overall

Robeson outcome is that the different age groups of musicians would affect their overall opinions. In general though, I would expect that the musicians would feel that the classic rock songs of the mid 1900s should be considered a Fine Art whilst the newer music should be put under more scrutiny. The critics might feel the same. There are a few issues with the survey, mostly in the biased opinions of each musician and critic. Depending on their particular tastes and favorite bands, some are more likely to lean in a certain direction. Because of this, I would ask a larger audience. In conclusion, although there are many important points made by many important researchers, I feel that most of them tend to agree with each other. Many of the Psychologists

who look at rock music tend to make similar points on behavior and attitude. The journalists and their recounts all seem to point to the fact that rock music had a profound effect on their lives. The only contradictory fact is also the one that has the least amount of information available: whether or not rock music should be considered a Fine Art. I feel that some of the more classic rock music should be considered in that category. I also feel that clear guidelines should be created to say what becoming a Fine Art entails. Overall though, I feel that the points made by these researchers were well claimed and that they accurately encompass all that is rock music.

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Work Cited
Appel, N. (2014, January). Ga, ga, ooh-la-la: the childlike use of language in pop-rock. Popular Music, 33(1), 91-208. Brennan, M. (2013, December). Nobody Likes Rock and Roll but the Public: Down Beat , Genre Boundaries and the Dismissal of Rock and Roll by Jazz Critics. 36(5), 559-577. Cutietta, R. (1986, April). Rock Music Gets a Label. Music Educators JournalVol. 72, No. 8 , pp. 36-38. Denning, M. (Spring- Summer, 1984). Rock Music. The 60's without Apology , 327-328. Durant, A. (1985). Rock Revolution or Time-No-Changes: Visions of Change and Continuity in Rock Music. Popular Music Vol. 5, Continuity and Change, pp. 97- 121. Gracyk, T. A. (1993, Summer). Romanticizing Rock Music. Journal of Aesthetic Education Vol. 27, No. 2, pp. 43-58. Hesselink, N. (2014, Jan). Rhythmic play, compositional intent and communication in rock music. Popular Music;, 33(1), pp. 69-90. Lacher, K. T., & Mizerski, R. (1994, September). An Exploratory Study of the Responses and Relationships Involved in the Evaluation of, and in the Intention to Purchase New Rock Music. Journal of Consumer Research, 21(2), 366-380. Powers, D. (2010, Oct). Rock Criticism's Public Intellectuals. Popular Music & Society, 33(4), pp. 533-548. Powers, D. (2012). Long-haired, freaky people need to apply: Rock music, cultural intermediation, and the rise of the 'company freak' (English). Journal of consumer culture [J. consum. cult.], 12(1), pp. 1-18 18p ref 1 p.1/4. Racic, L. (1981, December ). International Review of the Aesthetics and Sociology of Music, Vol. 12. pp. 199-202.

Robeson Regev, M. (2011, MAy). Pop-Rock Music as Expressive Isomorphism: Blurring the National, the Exotic, and the Cosmopolitan in Popular Music. American Behavioral Scientist, 55(5), 558-573. Rings, M. (2013, Feb). Doing It Their Way: Rock Covers, Genre, and Appreciation. Journal of Aesthetics & Art Criticism, 71(1), pp. 55-63. Turrini, J. M. (2013, Sep). "WELL I DON'T CARE ABOUT HISTORY": ORAL HISTORY

AND THE MAKING OF COLLECTIVE MEMORY IN PUNK ROCK. Notes, 70(1), pp. 59-77.