Rock Music in Performance

Pattie, David

doi:10.1057/9780230593305

Cited by 29 publications

(19 citation statements)

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“…Meanings experienced during the event may be highly situational and the interpretation of out-of-context phrasing of these meanings may be problematic. It is missing the ‘conversation’, the ‘exchange-in-performance’ (see Pattie, 2007). Preston (1992) claimed that ‘something is intrinsically difficult about studying transitory phenomena like pilgrimages’ (p. 32), and he was right.…”

Section: The Study Of Religion and Its Methodological Difficultiesmentioning

confidence: 99%

Researching religion: the iconographic elicitation method

Notermans

Kommers

2012

Qualitative Research

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This article aims at offering a contribution to context-related methods in anthropological fieldwork. The multidimensional realities of ethnographic fieldwork require much creativity in adapting research strategies to peculiar research contexts. This idea is illustrated with a description of a variant on the elicitation method as developed during research on Marian pilgrimage. Researchers studying religion come across specific problems such as peoples’ profound emotions and private suffering that may strongly inhibit communication with the researcher. The elicitation method as used in the project explicitly aimed at overcoming the problem of silence and outburst of tears among emotionally touched respondents, which seriously hampered initial interviews based on verbal stimuli. In contrast to this, emotional responses to the iconographic stimuli appeared to evoke stories revealing important religious meanings, whereas precisely this emotional dimension made it difficult for the people to express themselves when approached by the use of conventional interview techniques.

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Section: The Study Of Religion and Its Methodological Difficultiesmentioning

confidence: 99%

Researching religion: the iconographic elicitation method

Notermans

Kommers

2012

Qualitative Research

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“…Social identities are discernable in interactions with others and are made available through a person's physical, verbal and visual expressions. In the social sciences, popular music studies and varying cultural theories, identity is conceptualized as a performance (Alexander & Mast, 2006;Goffman, 1959; Kirby cited in Pattie, 2007;Osborne & Wintle, 2006;Palmer, 1997). The display of identity is a social and communicative process, described by Frith as a rhetoric of gestures (1996).…”

Section: Theories Of Identitymentioning

confidence: 99%

“…What it means to be "authentic" is subject to redefinition. It is highly contingent on developing technologies, changes in the economic production of music, changes in social values and the structures of music (sub)cultures (Pattie, 2007). Ideas of authenticity, truth and realness as they pertain to music and musical identities are essentially myths.…”

Section: Popular Music and Authenticitymentioning

confidence: 99%

“…Judgments about qualities that make up authenticity are based on performances -what is seen and heard (Frith, 1996). In order to be perceived as authentic, musicians need to perform accordingly, demonstrating either an authentic investment in the kind of music they are playing, or an authentic investment in the message of their music and persona (Pattie, 2007).…”

Section: Popular Music and Authenticitymentioning

confidence: 99%

“…Rock authenticity is built on a romantic ideology (Pfeil, 1995), where both the music and performers, as well as the history of the form itself, are all built on the praising of energy, passion, freedom, truthfulness and the overall message of heroic triumph and emergence (Pfeil, 1995, p.74-75). Rock authenticity is based on the notion of what Keir Keighley calls romantic authenticity (cited in Pattie, 2007). It values community, populism, sincerity, directness, traditions and a continuity of the past (and therefore, embraces change that is gradual rather than extreme), the use of an "essential" rock sound, and a sense of liveness, both of which involve reliance on natural sounds and hiding musical technology (Keighley cited in Pattie, 2007, p. 8).…”

Section: Popular Music and Authenticitymentioning

confidence: 99%

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“Walk Like the Heroes”: The Performed Identity of Bruce Springsteen and the Relationship to Contemporary Popular Music Performance

Petkovski¹

2021

Preprint

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This thesis examines the trend of contemporary popular musicians referencing and being compared to Bruce Springsteen. To do so, the work analyzes the performed social identity of Springsteen and its relationship to popular music performance, particularly in terms of understanding and assessing the motivations behind comparisons with Brian Fallon of The Gaslight Anthem, a band frequently though to represent Sprinsteen's influence. Two case studies were conducted to examine the performed personas of both artists, informed by theories of the communication of meaning and identity. Springsteen is found to portray a traditionally American, White, working class male, representative of the idealized image of early American republican philosophy. Alternately, Fallon is found to perform a similar social identity without the significant evocation of this republicanism. Comparisons between these artists are theorized as emerging from their use of similar identity representations and indicators of meaning, particularly in their communication of authenticity.

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From the Stage to the Booth to the Stage: Sustaining Collective Engagement During Live Performance

Diallo

2019

Collective Participation and Audience Engagement in Rap Music

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Rock Music in Performance

Cited by 29 publications

References 0 publications

Researching religion: the iconographic elicitation method

Researching religion: the iconographic elicitation method

“Walk Like the Heroes”: The Performed Identity of Bruce Springsteen and the Relationship to Contemporary Popular Music Performance

From the Stage to the Booth to the Stage: Sustaining Collective Engagement During Live Performance

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