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The effect of music on society
The effect of music on society
Popular music and its impact on the culture
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The devil has been seen through many forms in popular music throughout history from the voodoo drums of the African slaves to modern artists marketing ploys. The term popular music is particularly ambiguous, so to define, in this piece it shall refer to dominant pieces or performers within the last 100 years.
Many composers and artists have been branded by religious organisations as being in league with the devil, from the banning of songs, performers and even chords and movements by the church to the present day right wing Christian ‘preachers’ of YouTube.
The devil, in this context, comes in many guises; Lucifer or Satan as in the Judeo Christian texts or anything demonic or unwholesome/ unholy. It can also be seen as a racial slur against the white population during the 20th century. This can reveal itself within music through lyrics; vocal sounds/ tone and harmonies the rhythm or melody of songs. Other manifestations in modern music include videos, marketing, iconography within the heavy metal genre and back masking.
This report will focus on the Faustian mythology surrounding the life and works of Robert Johnson who purportedly sold his soul to the devil. Despite very little being known about Robert Johnson it is his music in tandem with the lore of his life that creates the foundations of the devil in popular music.
Although it is uncertain exactly when Robert Johnson was born, like a fictional character, details on Robert Johnson are sparse, his year of birth is placed sometime between 1910 and 1913. His death is attributed (dependant on source) to anything from pneumonia, poison by a disgruntled husband and stabbing. Those how know him spoke about his love of ‘whiskey and women’, both ungodly pursuits.
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... song crossroads gives the feeling of a man destined for hell, that he knows his own bleak destiny. The tempo of crossroads gives a unique sense of panic and revelation not seen in any of his other works. This along with the wailings certainly gives the listener an eerie insight into this troubled man’s world.
The curse of the song “crossroads” may well be purely superstitious coincidence. Given that there are no statistics regarding artists that have recorded and gigged the song who have not suffered in some way it is very difficult to draw conclusion on this matter. It could well be the case that the devil is out to get his dues.
Criticism and the trickster
Popular Music
Popular Music / Volume 24 / Issue 02 / May 2005, pp 179-191Copyright © 2005 Cambridge University Press
Delta Blues: The Life and Times of the Mississippi Masters Who ...
By Ted Gioia
Beginning in 1962 with Sean Connery, the fictional MI6 spy James Bond has been played by a plethora of actors. At first, Mr. Bond was notorious as a cold, deadly killer and a conniving womanizer. However, as the actors for the role began to turn over, so did the portrayal of 007. For nearly fifty years the role was in constant transition with directors trying new things like adding humor or making Bond less promiscuous in an effort to craft the role to each new actor. In the end, Bond returned to his roots as a brutal, undisciplined agent played by Daniel Craig. While James Bond is no George Spiggott and Ian Fleming is no Christopher Marlow, a similar turnover can be seen between the works Dr. Faustus and Bedazzled. To begin with, the 1967 film Bedazzled is somewhat of a satirical retelling of the Faust narrative from the 1600s, and although many years separate each story, they are still very comparable. The relationship between these two works provides a social commentary on the perception of the Devil’s power during each time period and helps highlight humanity’s changing connection with God as a result of this.
The Rise and Fall of Jack Johnson Ask someone who was one of the first people to break the color barrier in sports and you're almost guaranteed that the answer is Jackie Robinson. Yet almost 40 years earlier there was a black boxer by the name of Jack Johnson, also known as John Arthur Johnson. Most would argue that he was the best heavyweight boxer of his time, having a career record of 79 wins and 8 losses, and being the first black to be the Heavyweight champion of the World. (Jack Johnson (boxer), October 9th, 2006.) Not only was this impressive, but he had to deal with racism and black oppression.
The song has regular stress it monotone which has a calming effect on a person while still being able to gravitate the sincerity of the There is a metaphor are the three different characters Bobby, Jimmy. “.Rollin' into Baghdad wonderin' how he got this far” (line 5)” Chasin' ghosts in the thin dry air.” Bobby, Jimmy, Ali are not able to tell who is really the malicious person they all are either trying to make a better life for themselves or trying to receive
Philip Auslander’s book “Performing Glam Rock” talks about a type of music that until this class, I have not heard much about. When I think Glam Rock I think of artists like Prince and Kiss, ...
Music week ( 2005) ‘HMV to encourage environmental awareness’ [online] musicweek 27TH of January. Available from http://www.musicweek.com/news/read/hmv-to-encourage-environmental-awareness/027552 [accessed on the 30-3-1014]
The influence of secular rock music on contemporary Christian music has awakened a generation of listeners who enjoy being in the “gray” area. There’s a generation out there that does not want the label of “Jesus freak.”
Popular music places a premium on accessibility, represents various meanings to boost both instant appeal and memorability - distinctive tunes, novel instrumental flourishes, danceable rhythms, repeated riffs - but its signal feature is melodic emphasis and great vocal gatherings.
African American religious music is the foundation of all contemporary forms of so called “black music.” African American religious music has been a fundamental part of the black experience in this country. This common staple of the African American experience can be traced back to the cruel system of slavery. It then evolved into what we refer to today as gospel music. The goal of this paper is to answer three main questions. What are the origins of African American religious music? How did this musical expression develop into a secular form of music? What is the future of African American religious music? These questions will be answered through factual research of African American traditions, artists, and various other sources.
Prior to open practice of Satanism, the Roman Catholic church used Satanism as a label for individuals and groups who held views or ideologies that conflicted with those of the church. This was an attempt to delegitimize their opponents and to strengthen the Church’s following. While these accusations were initially harmless and limited to heretics, they became increasingly frequent and extreme. These wild accusations spread to rumors of violent rituals claimed to be performed by Satanists which built up to widespread fear and panic. Ultimately, this would result in events like the Salem Witch Trials where innocent people were put to death due to false suspicion of individuals performing witchcraft and becoming possessed by the Devil. Ironically, while the church merely intended to bolster both its image and following with these accusations, the widespread panic that resulted put Satanism on the map, and “several scholars identify fundamentalist Christianity as one of the major influences shaping and driving the” onset of the Satanist movement (Underwager and Wakefield, 281). This sheds light on the true relationship between the conflicting belief systems of Christianity and Satanism. Although the two are at odds on even the most basic levels, their relationship is largely codependent. Christianity uses the fear surrounding Satanism and the
Patrick, J. Max, and Roger H. Sundell, eds. Milton and the Art of Sacred Song. Madison: U of Wisconsin P, 1979.
Miller, Terry, and Andrew Shahriari. World Music: A Global Journey. New York, London: Routledge Taylor and Francis Group, 2006.
Western Music has developed in many ways since the middle ages through its form, sound, and message. Throughout these different periods in western music one thing has remained constant, the true essence of music, a way to communicate with someone on a much more divine level than be by rudimentary conversation. Though Ludwig Van Beethoven and Paul McCartney may seem completely opposite they have one in common through their music they changed the world’s perception of its self
On July 14th 2012 a song was released which created a storm throughout the world, it was so different to the other music in the industry, so catchy, the dancing was so unique. It was put on to YouTube and a paradigm was created. So let’s see what is behind this music because on first thoughts one would quite feasibly argue what has Gangnam got to do with theology. Having to reflect on Gangnam? This is not theology, what on earth has theology got to do with this, and what sort of a college is this God? But once starting to research more into Psy and Gangnam, eyes were truly opened; let’s discuss the details and findings of Gangnam and the man behind it.
Daverio, J. J. (1986). "Total Work of Art" or "Nameless Deeds of Music" Some Thoughts on
- - -. Running With the Devil: Power, Gender, and Madness in Heavy Metal Music. Middletown, CT: Wesleyan University Press, 1993. Print.