The Rock'n'Roll Era and Beyond - Essay Example

? Rock n roll era and beyond Introduction Over many generations accessibility to large amount of music have increased vastly. This has been facilitated by means like radios, tapes, and CDs. Music has formed the integral parts of the broadcasting systems like the televisions and the cinema films. In fact, as you walk along the streets, your ears will be exposed to uninvited musical sounds. This shows that interaction with music has been increasing with time. Moreover, it is evident that since few decades ago, music has played a central role in identity construction process for many young people. The identity does not only include personal identity, but also regional, national, gender, ethnic and cultural identity. Therefore, the purpose of this paper is to briefly present an overview of how music can reflect a generation identity. It will also analyze two artists from different decades and how the two musicians connect to listeners at specific stage of life and finally. Finally, the paper will discuss what music reveals about the changes and continuities in the perception of that age identity. In discussing the identity in music, we need to ask ourselves whether it is true that everyone has a musical identity. Few people say that they lack interests in music or liking of the music whatsoever. Most have strong liking of music and dislikes depending on the type of music. Taste for music have always been shown to related to age, music training level and some aspects of cognitive style and personality. Most people listen to music of different levels of engagements to regulate their moods in different contexts while they are also involved in other activities. It may seem reasonable that in analyzing the musical identities to look at all the concepts of the people. The broad patterns of musical preferences among people and also the transitory likes and dislikes form the integral part of our music identities (Jennings 1991). It is widely believed that the taste and preferences in listening form the most important part of most people. However, this may not be so among other people in the society. Furthermore, domain music importance varies very much in self-identities. This level of variation may depend on the level of involvement such as the musicians themselves or the solo performers. One of the factors that play a role in teenager’s generation identity is music. They identify with artists and different musical styles to reflect their individual identity as a generation. Over many generations, you will find many parents lamenting on the type of music their young ones listen. Over a period of a hundred years ago, it was jazz, followed by big band, rock n’ roll, then funk, electronic music, rap and finally hip hop. The parents mostly complain about the noise that the young stars listen to hence refusing to listen or understand “that music.” It is true that music can connect us with each other if we open to listen, understand and receive it. Therefore, in finding identity, people of different age groups do tend to prefer particular type of music. In the 1950s in its last half, as rock ‘n’ roll of the Americans began to assume its hegemony over the airwaves and the habits of the young people of buying records across the whole of the industrialized world, this popular new brand of music began to be primarily perceived as a phenomenon for the youth. This perception was reinforced in the 1960s by the development of the youth movement, which expressed itself self-consciously through distinctive forms of pop and rock music. Many believed that this conjunction resulted to the success of the rock music. It was primarily due to the young stars articulation of their sense of identity mostly based on the idea of age and generation. In the word of Frith (1978), the sociology of rock cannot be separated to the sociology of the youth. In the 1970s, the youth to music relationship differed significantly along a number of dimensions especially in social class, ethnicity and gender (Murdock et al 1976). He stipulates that middle class youths and the minority educationally successful working class students effectively constituted the counter culture of 1960s where music was homogenic in audience. According to Paul Willis (1978), he explains that the styles of music were woven into social fabric of the subcultures and meanings brought forth from members to the preferred music and the social group. In looking at music identity along the gender lines, it is clear that gender also find their identity through a particular music. Frith and McRobbie (1978) bring out how music of different types can be contextualized in terms of gender and sex. In their work, they saw that rock music is primarily aimed for the male audience in contrast to the pop music which was mainly aimed at the female audience. Along the ethnic lines however, there was also ethnic differentiation of preferences in music. For instance a music that was common and loved in North America was sometime not apparent in Western Europe. However, with increasing multi ethnic patterns in Western Europe, European youths in music identity began to manifest. For example, music such as jazz and blues were being associated with black musicians in Europe. Furthermore, according to Cashmore (1984) reggae music, which was suffused heavily with the Rastafarian inspiration, was mostly a protest music drawing followers from young blacks in the inner cities. This music was identified with the young blacks. In closer examination of Madonna’s music, it brings out stylistic combination of feminity, which is assertive and traditional erotic symbolism. It was clear that many adolescent girls were identifying with a successful assertive female especially the one being portrayed in the style of Madonna. In every career of every musician, they need an audience. In examining the musical life of Madonna, her ambition was to target the teenagers but she later added the ethnic minorities and later showed a wish to grow old in interacting with her fans. Besides, she was able to rely on other target groups such as the gay, lesbians and non- old guard feminists. In addition to the younger girls, Madonna connected also with men. In her popular phrase “not men in my life that counts but it’s the life in my men.” Shows how she connected well with men most of which were even parents. The material Madonna enjoyed and connected with many men of all age groups ranging from the accomplished high profile in the world of politics, sports and entertainment over the last three decades she was a musical star (Jennings 1999). Madonna the popular pop star was known to connect well with many women given that she was a woman herself. She got a credit for influencing many female musicians like Britney spears, Shakira, lady gaga Madge. Furthermore, her influence is also seen in the launch of the material girl clothing line together with her daughter Lourdes. This portrays the power of a woman (Jennings 1999). Bunny Gibson is an example of an effect of rock n roll. Born in 1946 and lived In Darby Pennsylvania. She says that there were strict dress codes and people had crew cuts and wore jackets and ties. On the other hand, girls had dresses that were high neck and could not expose too much. She says that in 1950s, children were supposed to listen to their parents and do what they were told to do hence they lacked freedom. However, like her, many teenagers wanted to find out new things for themselves. Rock n roll music was music from heart that gave them the feeling of freedom they wanted. This brings out clearly how the rock music connected to listeners. According to Jennings (1999), it was as if the parents lost their control when the teenagers got their freedom. Bunny Gibson’s contribution to the music industry is overwhelming especially the rock n roll. She connected well with the teenagers and she also influenced many youths with her music and also during her carrier as a radio presenter. The teenagers were known to flow with the rock music in the dance floor and as they hymn the words away. This way, we see how Bunny Gibson really connected with the youths during her time. In addition, the music of 1960s did not only portray and exaggerated the ability of rock music as of rebellion, disrespect and disobedience ,but also clearly made it plain that pop music was capable of expressing thematic truths and emotions that was prevalent. In this manner, the musicians were communicating and connecting to the people and offered means of venting their abstract feelings. Similarly, the emergence and rise of Beatles as pop icons represented a generational change. Their long hair, unique dresses and their music challenged the traditional music and the status quo of the day. In the 2000s, it is hard to identify a musician who really moves the society. Neil Young, a musician, wrote his song “Ohio” which told the story of innocent killing Kent State University college students by the National Guard troops in trying to break up a war protest. The lyrics of the song called for action to stop the madness from the people. “Gotta get down to it Soldiers are gunning us down, Should have been done long ago What if you knew her And found her dead on the ground When you know how can you run away” (Anderson 58). Long before, youths used to look forward to the future of their lives and make necessary steps to ensure they work towards realizing their dreams. However, with age identification in music, teenagers have concerned with today’s life, enjoyment and sometime hedonism. Moreover, with age identity in music, there have been cases where the teenagers lose track of their dreams and ambitions and engage in music addiction due to the comfortability in the music groups they form or find themselves in. All the zeal of being successful one day in future is eroded when they start engage themselves in other activities that are termed “fashionable.” On the other hand, parental concerns have not been left out on the issue of age identification in music. Parents have been complaining about how music advocated for drugs and alcohol abuse, satanism, occult and sacrifice of the human and some spreading of ritual concerts coupled with pornography and sex related videos. Identification with the music among the youth has led to many of them copying what the musicians do. Furthermore it is in these musical groups based on age identity that older teenagers who abuse drugs and illegal substances influence their peers to copy or maybe imitate whatever they practice. Another parental concern is the nude pictures associated with particular musicians who identify with a certain age group of the teenagers. Furthermore, explicit lyrics from these musicians have changed the perception of people especially the parents because they are now concerned with the kind of musical stuff their youngsters are exposed to. These musical lyrics which present suicide as the best alternative or remedy to stresses in life have changed the people’s perception to age identity in music as a ground for social immorality.   References   Anderson, Catherine Corley, John R. Kennedy. (1991). Young Peoples President. Minneapolis: Lerner Publications Company Cashmore, E.E. (1984). No future. London: Heinemann Frith . S, and A. McRobbie. (1978). "Rock and sexuality." In: Screen Education. London: Constable Frith, S. (1978). The sociology of rock. London: Constable Frith, S. (1983). Sound effects: Youth, leisure and the politics of Rock 'n' Roll. London: Constable Jennings, Peter, Todd Brewster. (1999). The Century for Young People. New York Murdock, G, R. McCron. (1976a). "Consciousness of class and consciousness of generation." In: Hall, S., and T. Jefferson (eds). (1976). Resistance through rituals. Youth subcultures in postwar Britain. London: Hutchinson. Willis, P. (1978). Profane culture. London: Routledge and Kegan Paul Read More