Articles on "Rock Music" and Song
Hip hop and philosophy [electronic resource] : rhyme 2 reason / edited by Derrick Darby and Tommie Shelby. Book available on line through CofC library.
Bailey, Julius. Philosophy and Hip-Hop: Ruminations on a Postmodern Cultural Form. New York: Palgrave Macmillan, 2014
Review of above
Bailey, Julius editor of Jay-Z: Essays on Hip Hop's Philosopher King (2011), ***The link above includes some videos discussing the issue
Bailey, Julius author of The Cultural Impact of Kanye West (2014)
“The Aesthetics of Punk Rock” by Prinz, Jesse, Philosophy Compass, 9(9), 583-593. 11 p. SEPT 2014: Philosophers should listen to punk rock. Though largely ignored in analytic aesthetics, punk can shed light on the nature, limits, and value of art. Here, I will begin with an overview of punk aesthetics and then extrapolate two lessons. First, punk intentionally violates widely held aesthetic norms, thus raising questions about the plasticity of taste. Second, punk music is associated with accompanying visual styles, fashion, and attitudes; this points to a relationship between art and identity. Together, these lessons suggest that art appreciation is not just about finding beauty or aesthetic worth but is also about constructing a self.
Doing It Their Way: Rock Covers, Genre, and Appreciation, by Rings, Michael. Journal of Aesthetics and Art Criticism, 71(1), 55-63, 9 p. Winter 2013: This paper is an inquiry into the unique character and aesthetic potential of a musical form particular to the rock tradition: the genre-reset cover version. As it is defined here, 'generic resetting' is the covering (i.e., remaking) of a song in a genre other than that in which it appeared in its original recorded version. The appreciation conditions of the cover version mark it as distinct from similar nonrock forms (e.g., jazz standards), due in part to its frequently allusive nature. Within this form, generic resetting offers a unique brand of aesthetic interest in at least two ways: first, by producing musical interest via the manipulation of expectations, and second, by providing an intertextual dimension that may serve to enrich interpretative engagement with the song.
Song, Songs, and Singing, Journal of Aesthetics and Art Criticism 71,#1 Winter 2013, an entire issue with a dozen plus articles
Richard Meltzer, the Aesthetics of Rock Music (1970)
James O. Young, Between Rock and Harp Place, The Journal of Aesthetics and Art Criticism 53 (1995): 78-81
Bruce Baugh, Music for the Young at Heart” The Journal of Aesthetics and Art Criticism 53 (1995) 81-83
Bruce Baugh (1993). Prolegomena to Any Aesthetics of Rock Music. Journal of Aesthetics and Art Criticism 51 (1):23-29.
Stephen Davies, Rock versus Classical Music, Journal of Aesthetics and Art Criticism 57,2 Spring 1999.
Roger Scruton, “The Decline of Musical Culture” in reprinted in Alex Neill and Aaron Ridley, Arguing About Art 119-134.
Theodore Gracyk, "Music's worldly uses, or how I learned to stop worrying and to love Led Zeppelin," reprinted in Alex Neill and Aaron Ridley, Arguing About Art 135-147
John Fisher, “Rock n Recording: The Ontological Complexity of Rock Music in What is Music? Ed. P. Alperson (Penn State Press), 1998.
Also in Philip Alperson, ed., Musical Worlds: New Directions in the Philosophy of Music (Penn State Press, 1994), includes John Fisher Rock n Recording: The Ontological Complexity of Rock Music, "Cage and Philosophy by Noel Carroll, Levinson on Evaluating Music, Can White People Sing the Blues: Race ethnicity and Expressive Authenticity
S. Frith, Towards an aesthetic of popular music in Leppert and McClary eds., Music and Society (Cambridge, 1987).
Theodore Gracyk, Rhythm and Noise: An Aesthetics of Rock (Duke press, 1995)
Susan McClary andRobert Walser,"StartMakingSense! MusicologyWres tles with Rock,"in On Record:Rock,Pop, and the Written Word,eds. Simon Frithet al. (London:Routledge, 1990)
Robert Palmer, Rock and Roll: An Unruly History (New York:HarmonyBooks, 1995);