|
|
|
||
|
Poslední úprava: NARATOLOGIE (18.08.2014)
|
|
||
|
Poslední úprava: NARATOLOGIE (18.09.2014)
Literatura 1. základní: 1.1. Obecné práce: Appen Ralf von; Doehring, André: Nevermind the Beatles, Here's Exile 61 and Nico: 'The Top 100 Records of All Time': A Canon of Pop and Rock Albums from a Sociological and an Aesthetic Perspective. Popular Music, Vol. 25, No. 1, Special Issue on Canonisation (2006), s. 21-39. Clarke, Paul: 'A Magic Science': Rock Music as a Recording Art. Popular Music, Vol. 3, Producers and Markets (1983), s. 195-213. Dunbar-Hall, Peter: Semiotics as a Method for the Study of Popular Music. International Review of the Aesthetics and Sociology of Music, Vol. 22, No. 2 (1991), s. 127-132. Frith, Simon: Rock and the Politics of Memory. Social Text, No. 9/10, The 60's without Apology (1984), s. 59-69. Frith, Simon: Why Do Songs Have Words? In: Music for Pleasure: Essays in the Sociology of Pop. New York: Routledge, 1998, s. 105-128. Frith, Simon; Straw, Will; Street, John, eds.: The Cambridge Companion to Pop and Rock. London:Cambridge University Press, 2001. Garofalo, Reebee: How Autonomous Is Relative: Popular Music, the Social Formation and Cultural Struggle. Popular Music, Vol. 6, No. 1 (1987), s. 77-92. Gracyk, Theodore: The Aesthetics of Popular Music. In: Internet Encyclopedia of Philosophy. On-line: http://www.iep.utm.edu/music-po/ Gracyk, Theodore: Listening to Music: Performances and Recordings. The Journal of Aesthetics and Art Criticism, Vol. 55, No. 2, Perspectives on the Arts and Technology (1997), s. 139-150. Gracyk, Theodore: Valuing and Evaluating Popular Music. The Journal of Aesthetics and Art Criticism, Vol. 57, No. 2, Aesthetics and Popular Culture (1999), s. 205-220. Grossberg, Lawrence: Another Boring Day in Paradise: Rock and Roll and the Empowerment of Everyday Life. Popular Music, Vol. 4, Performers and Audiences (1984), s. 225-258. Grossberg, Lawrence: The Politics of Youth Culture: Some Observations on Rock and Roll in American Culture. Social Text, No. 8 (1983-1984), s. 104-126. Inglis, Ian: Ideology, Trajectory &Stardom: Elvis Presley &The Beatles. International Review of the Aesthetics and Sociology of Music, Vol. 27, No. 1 (1996), s. 53-78. Krims, Adam: What Does It Mean to Analyse Popular Music? Music Analysis, Vol. 22, No. 1/2 (2003), s. 181-209. Marwick, Arthur: The Cultural Revolution of the Long Sixties: Voices of Reaction, Protest, and Permeation. The International History Review, Vol. 27, No. 4 (2005), s. 780-806. McIntyre, Phillip: Creativity and Cultural Production: A Study of Contemporary Western Popular Music Songwriting. Creativity Research Journal, Vol. 20, No. 1 (2008), s. 40-52. Negus, Keith: Popular Music in Theory: An Introduction. Hanover: University Press of New England, 1997. Regev, Motti: Producing Artistic Value: The Case of Rock Music. The Sociological Quarterly, Vol. 35, No. 1 (1994), s. 85-102. Scaruffi, Pierro: A History of Rock and Dance Music. Značná část on-line na: http://www.scaruffi.com/history/long.html Shuker, Roy: Understanding Popular Music Culture.3rd, rev. ed. London: Routlege, 2012. Databáze: http://www.reasontorock.com/index.html en.wikipedia.org http://www.rockmusictimeline.com/ http://edition.cnn.com/SPECIALS/us/the-sixties Rolling Stone The 500 Greatest Albums of All Time (2003): http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531 Rolling Stone The 500 Greatest Songs of All Time (2004): http://www.rollingstone.com/music/lists/the-500-greatest-songs-of-all-time-20110407 Entertainment Weekly Greatest 100 Albums of All Time (2013): New Musical Express 500 Greatest Albums of All Time (2013): http://www.timepieces.nl/chart/25435/2013-nme-500-greatest-albums-all-time#.VBrSf5R_s6w Colin Larkin: All Time Top 1000 Albums. London: Guinness Publishing, 1994 http://www.timepieces.nl/chart/12172/1994-colin-larkin-all-time-top-1000-albums
1.2. Bob Dylan: Lubet, Alex: Listening to Bob Dylan. Cognitive Critique, Vol. 5, 2012, s. 37-58. Marcus, Greil: Where Is Desolation Row? The Threepenny Review, No. 81 (2000), s. 28-30. Riley, Tim: Another Side of Bob Dylan. World Literature Today, Vol. 79, No. 3/4 (2005), s. 8-12. 1.3. Beach Boys: Ewer, Gary: Classic Song Analysis: "God Only Knows". On-line: http://garyewer.wordpress.com/2011/10/26/classic-song-analysis-god-only-knows-wilsonasher/ 1.5. Jefferson Airplane: Chenoweth, Lawrence: The Rhetoric of Hope and Despair: A Study of the Jimi Hendrix Experience and the Jefferson Airplane. American Quarterly, Vol. 23, No. 1 (1971), s. 25-45. 1.6. Velvet Underground: Joseph, Branden W.: "My Mind Split Open": Andy Warhol's Exploding Plastic Inevitable. Grey Room, No. 8 (2002), s. 80-107. Stratton, Jon: Jews, Punk and the Holocaust: From the Velvet Underground to the Ramones: The Jewish-American Story. Popular Music, Vol. 24, No. 1 (2005), pp. 79-105. 1.7. Jimi Hendrix: Bliek, Rob van der: The Hendrix Chord: Blues, Flexible Pitch Relationships, and Self-Standing Harmony. Popular Music, Vol. 26, No. 2 (2007), s. 343-364. Whiteley, Sheila: Progressive Rock and Psychedelic Coding in the Work of Jimi Hendrix. Popular Music, Vol. 9, No. 1 ( 1990), s. 37-60. 1.8. Beatles: Everett, Walter: Fantastic Remembrance in John Lennon's "Strawberry Fields Forever" and "Julia". The Musical Quarterly, Vol. 72, No. 3 (1986), s. 360-393. Inglis, Ian: 'Nothing You Can See That Isn't Shown': The Album Covers of the Beatles. Popular Music, Vol. 20, No. 1 (2001), s.. 83-97. McParland, Robert: The Beatles Anniversary: The Beatles, Narrative, Memory. On-line: Reck, David R.: Beatles Orientalis: Influences from Asia in a Popular Song Tradition. Asian Music, Vol. 16, No. 1 (1985), s. 83-149. Riley, Tim: For the Beatles: Notes on Their Achievement. Popular Music, Vol. 6, No. 3, Beatles Issue (1987), s. 257-271. Sullivan, Mark: 'More Popular Than Jesus': The Beatles and the Religious Far Right. Popular Music, Vol. 6, No. 3, Beatles Issue (1987), s. 313-326. 1.9. Frank Zappa Borders, James: Form and the Concept Album: Aspects of Modernism in Frank Zappa's Early Releases. Perspectives of New Music, Vol. 39, No. 1 (2001), s. 118-160. 1.10. Rolling Stones: Hellmann, John M., Jr.: "I'm a Monkey": The Influence of the Black American Blues Argot on the Rolling Stones. The Journal of American Folklore, Vol. 86, No. 342 (1973), s. 367-373.
2. Doporučená: 2.1. Obecné práce: Anthony, Gene: The Summer of Love. Berkeley, Celestial Arts, 1980. Curtis, Jim: Rock Eras: Interpretations of Music and Society, 1954-1984. Bowling Green Bowling Green State University Popular Press, 1987. DeCurtis, Anthony, ed.: Present Tense: Rock and Roll and Culture. Durham: Duke University Press, 1992. Dickstein, Morris: Gates of the Eden: American Culture in the Sixties. New York: Basic Books, 1977. Eisen, Jonathan, ed.: The Age of Rock: Sounds of the American Cultural Revolution. New York: Random House, 1969. Frith, Simon: The Sociology of Rock. London: Constable, 1978. Frith, Simon: Sound Effects: Youth, Leisure, and the Politics of Rock'n'Roll. New York: Pantheon, 1981. Frith, Simon; Horne, Howard: Art into Pop. London: Methuen, 1987. Frith, Simon, ed.: Facing the Music: A Pantheon Guide to Popular Culture. New York: Pantheon, 1988. Frith, Simon; Goodman, Andrew; Grossberg, Laurence eds.: Sound and Vision: A Music Video Reader. New York: Routledge, 1993. Gans, Terry: What's Real and What Is Not: The Myth of Protest. Mnichov: Hobo Press, 1983. Garofalo, Rebee: Rockin' the Boat: Mass Music and Mass Movements. Boston: South End Press, 1992. Gillet, Charlie: The Sound of the City: The Rise of Rock and Roll. New York: Outerbridge and Dienstfrey, 1970. Goldstein, Richard: The Poetry of Rock. New York: Bantam Books, 1969. Grossman, Lloyd A.: A Social History of Rock Music. New York: David McKay, 1976. Heilin, Clinton, ed.: The Penguin Book of Rock and Roll Writing. New York: Viking - Penguin, 1992. Hoffman, Frank: The Literature of Rock, 1954-1978. Metuchen: Scarecrow Press, 1981. Chapple, Steve; Garofalo, Rebee: Rock'n'Roll Is Here to Pay: The History and Politics of the Music Industry. Chicago: Nelson-Hall, 1977. Charlton, Katherine: Rock Music Styles: A History. Dubuque: W. C. Brown, 1990. London, Herbert I.: Closing the Circle: A Cultural History of the Rock Revolution. Chicago: Nelson-Hall, 1984. Lydon, Michael; Mandel, Ellen: Boogie Lighting: How Music Became Electric. New York: DaCapo Press, 1974. Marcus, Greil: Mystery Train: Images of America in Rock'n'Roll Music. New York, Dutton, 1975. Marcus, Greil: Lipstick Traces: The Secret History of the 20th Century. Cambridge: Harvard University Press, 1989. McKeen, William: Rock and Roll is Here to Stay. New York: W. W. Norton, 2000. Pichaske, David R.: A Generation in Motion: Popular Music and Culture in the Sixties. New York: MacMillan, 1979. Perone, James E.: Music of the Counterculture Era. London: Greenwood, 2004. Robinson, Richard: Rock Revolution. New York: Curtis Books, 1973.
1.2. Bob Dylan: Bowden, Betsy: Performed Literature: Words and Music by Bob Dylan. Bloomington: Indiana University Press, 1982. Dowley, Tim; Dunnage, Barry: Bob Dylan: From a Hard Rain to a Slow Train. New York: Hippocrene Books, 1982. Herdman, John: Voice without Restrain: Bob Dylan's Lyrics and Their Background. New York: Delilah Books, 1982. Marcus, Greil: Once upon a Time : Bob Dylan's Like a Rolling Stone. New York: Public Affairs, 2005. McKeen, William: A Darker Shade of Pale: A Backdrop to Bob Dylan. London: Oxford University Press, 1985. McKeen, William: Bob Dylan: A Biobibliography. Westport: Greenwood Press, 1993. Smith, Larry David: Bob Dylan, Bruce Springsteen, and American Song. Westport: Praeger, 2002. Thompson, Elizabeth M., ed.: A Dylan Companion. New York: Delta Books, 1991. Williams, Don: Bob Dylan: The Man, the Music, the Message. Englewood Cliffs: Fleming Revell, 1985. 1.3. Beach Boys: Gaines, Steven: Heroes and Villains: The True Story of The Beach Boys. New York: New American Library, 1986. Leaf, David: The Beach Boys and the California Myth. New York: Grosset and Dunlap, 1982. Preiss, Byron: The Beach Boys. New York, Ballantine Books, 1979. White, Timothy: The Nearest Faraway Place: Brian Wilson, the Beach Boys and the Southern California Experience. New York: Henry Holt, 1994. 1.4. Doors: Densmore, John: Riders on the Storm: The Story of the Doors. New York: Delacorte Press, 1990. Fowlie, Wallace: Rimbaud and Jim Morrison : The Rebel as Poet. Durham: Duke University Press, 1994. Cherry, Jim: The Doors Examined. Birmingham: Bennion Kearny, 2013. 1.5. Jefferson Airplane: Gleason, Ralph J., ed.: The Jefferson Airplane and the San Francisco Sound. New York: Ballantine, 1969. 1.6. Velvet Underground: Heilin, Clinton: From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World. New York: Penguin, 1993. 1.7. Jimi Hendrix: Murray, Charles Shaar: Crosstown Traffic: Jimi Hendrix and the Post-War Rock'n'Roll Revolution. New York: St. Martin's Press, 1989. 1.8. Beatles: Edwards, Henry: Stg. Pepper's Lonely Hearts Club Band. New York, Pocket Books, 1978. MacDonald, Ian: Revolution in the Head: The Beatles' Records and the Sixties. New York: Henry Holt, 1994. McKeen, William: The Beatles: A Biobibliography. Westport: Greenwood Press, 1989. Neiser, Charles P., ed.: The Beatles Reader. Ann Arbor, Pierian, 1984. O'Grady, Terence J.: The Beatles: A Musical Evolution. Boston: Twayne, 1983. Sullivan, Henry W.: The Beatles with Lacan: Rock 'n' Roll as Requiem for the Modern Age. New York: P. Lang, 1995. 1.9. Frank Zappa: Watson, Ben: Frank Zappa: The Negative Dialectics of Poodle Play. New York: St. Martin's Press, 1995. Zappa, Frank; with Peter Occhiogrosso: The Real Frank Zappa Book. New York: Poseidon Press, 1989. Zappa, Frank: Opravdová kniha Franka Zappy. Oficiálně nepublikovaný překlad. 1.10. Rolling Stones: Hotchner, A. E.: Blown Away: The Rolling Stones and the Death of the Sixties. New York: Simon and Schuster, 1990. 1.11. King Crimson: Bohling, Christopher P.: Freedom and Construction: New Concepts of Form in the Improvisations and Compositions of King Crimson. Disertace, University of Kansas, 2012. On-line: http://kuscholarworks.ku.edu/dspace/bitstream/1808/10873/1/Bohling_ku_0099M_12562_DATA_1.pdf Smith, Sid: In The Court Of King Crimson. London: Helter Skelter Publishing, 2002. 1.12. David Bowie: Perone, James E.: The Words and Music of David Bowie. Westport: Praeger, 2007. Thomson, Elizabeth; Gutman, David, eds.: The Bowie Companion. New York: Da Capo Press, 1996. 1.13. Neil Young: Echard, William: Neil Young and the Poetics of Energy. Bloomington: Indiana University Press, 2005.
|
|
||
|
Poslední úprava: NARATOLOGIE (18.08.2014)
Kolektivní prezentace komplexní analýzy jedné vybrané LP a aktivní účast v seminárních analýzách obecně. |
|
||
|
Poslední úprava: NARATOLOGIE (18.09.2014)
První dvě sezení budou věnována přehledovému výkladu sémantizace rockové hudby v kontextu kulturní historie 60. let, a otázkám kanonizace ve smyslu formulování závěrů o velikosti či vlivu. Poté se kurz bude - formou skupinových vstupních interpretací a jejich následného seminárního rozvíjení - věnovat následujícím klíčovým deskám 60. let: Bob Dylan: Highway 61 Revisited (1965) Beach Boys: Pet Sounds (1966) Doors: The Doors (4. 1. 1967) Jefferson Airplane: Surrealistic Pillow (únor 1967) Velvet Underground: The Velvet Underground & Nico (12. 3. 1967) Jimi Hendrix: Are You Experienced? (12. 5. 1967) Beatles: Sgt. Pepper's Lonely Hearts Club Band (1. 6. 1967) Frank Zappa and the Mothers of Invention: We're Only in It for the Money (4. 3. 1968) Rolling Stones: Beggars Banquet (6. 12. 1968) King Crimson: In the Court of the Crimson King (10. 10. 1969) David Bowie: Space Oddity (4. 11. 1969) Neil Young: After the Gold Rush (1970) Budou analyzovány jednotlivé sémantické složky rockového "sdělení" a ty budou zohledněny ve vztahu k ucelené představě témat generovaných širokou produkcí dobové světové popkultury. Metodologickým klíčem bude aplikovaný koncept Bourdieuova kulturního pole a habitu jakožto systému dispozic struktur, které toto pole utvářejí. |
|
||
|
Poslední úprava: NARATOLOGIE (18.09.2014)
Požadována je dobrá znalost angličtiny (schopnost rozumět textům písní a číst odbornou literaturu) a ochota k opačnému přístupu, než je přístup vyjádřený hláškou Matta Farrella v Die Hard 4.0: "I know what it is. It's OLD rock. That doesn't make it classic. What sucked back then still sucks today." |