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Rock Culture: From Underground to the Surface Rock music is both music and a lifestyle and has nurtured both since its inception in the 1950s. Townsend (1997) defines rock „n‟ roll as a movement, culture, lifestyle and ideology. Later, it moved from its birthplace, America, as a result of the commercialization of the music industry in the phase of globalization, which led to the diffusion of rock music‟s influence in many countries. Especially Britain witnessed Glam Rockers in 70s and Punk culture in 80s as subcultures, with the determining role of rock music in shaping these cultures. Much has been written about the evolution of rock music regarding its effects on the cultures or its entity as being a subculture itself, which makes it important for studying by sociology, anthropology or cultural studies. Hebdige (2004) concentrates on music centered “white worker class” subcultures, appeared after the 80s in England, including teddies, mods, rockers, skinheads and punks. Rock music has mostly been seen as a popular culture especially among youth and explored in this way. Works of theorists like Adorno (1991), Frith (1983) and Fiske (1989) put emphasis on the interdependence between the psychology of youth, postmodern theory and popular culture. Some scholars including Whiteley (1997) and Reynolds (1995) have explained rock music‟s anxious character, which originates from its masculinity. There are various approaches taken in order to explain the role of rock music in determining the preferences of youth. At the same time, Mellers (1973) considers rock music from an anthropological and ethno-musicological framework, comparing it to the „music of necessity‟ which has a ritual of ceremonial necessity. In this sense he draws a different line in approaching to the importance of rock music. It is important to note that for most scholars, including Rosselson (1979), Orman (1984), and Grossberg (1988), rock is the central manifestation of the post-World War II mass culture and mass cultural activity existed in East Central Europe. It is questionable and a debated issue for sociologists whether rock music plays a significant role in any process of political change or not. There are many studies done in these post-communist; transition countries, including Poland, Hungary, and Czechoslovakia in order to find the answer to this debate by scholars like Mitchell (1992), Ryback (1990), and Wicke (1992).Given the importance of rock music in constituting subcultures, so far, little research has been done about the structure of rock culture in Turkey. Akay, Firat, Kutlukan and Gokturk made an important study about the rock life in Istanbul in 1995. They analyzed the developing rock life among youth in Istanbul and rock culture‟s status in the early 1990s. However, the rapid changes in the music industry and technology, as well as some certain events took place after 1995 necessitated a new study in Turkey in order to understand the shift in social dynamics. For example, cable TV, which led videos of rock songs to be influential on youth culture, was not common before as it is now. It is also same for Internet allowing the audiences to download the music they want to listen. Rock music is more available now and it is more demanded by various segments of society. The other change took place after publishment of Akay et al.‟s book was the accusation of rock music as the music of Satan after some Satanistic crimes that led to a process of Satanist and rocker hunt. As a result of this process and technological developments rock culture in Istanbul has changed. More About : Rock Culture: From Underground to the Surface Rock music is both music and a lifestyle and has nurtured both since its inception in the 1950s. 摇滚音乐都是音乐和一种生活方式及培育了两个自成立以来于上个世纪50年代。Townsend (1997) defines rock „n‟ roll as a movement, culture, lifestyle and ideology. 汤森(1997)定义了的摇滚作为一项运动、文化、生活方式和意识形态。Later, it moved from its birthplace, America, as a result of the commercialization of the music industry in the phase of globalization, which led to the diffusion of rock music‟s influence in many countries. 后来,它提出了从它的出生地,美国,结果的商品化的音乐产业全球化阶段,并最终导致扩散的摇滚音乐的影响在许多国家使用。Especially Britain witnessed Glam Rockers in 70s and Punk culture in 80s as subcultures, with the determining role of rock music in shaping these cultures. 特别是英国摇滚很有魅力了70年代和80年代朋克文化作为亚文化群,确定摇滚音乐的作用在塑造这些文化。Much has been written about the evolution of rock music regarding its effects on the cultures or its entity as being a subculture itself, which makes it important for studying by sociology, anthropology or cultural studies. 已经写过很多的摇滚音乐的进化关于其影响或其实体作为文化亚文化本身,这使得它重要的习惯社会学、人类学或文化的研究。Hebdige (2004) concentrates on music centered “white worker class” subcultures, appeared after the 80s in England, including teddies, mods, rockers, skinheads and punks. Hebdige(2004)致力于音乐为中心"白色的工人阶级“亚文化群,后出现的80年代英国,包括摇滚信息存储器,泰迪熊、,光头仔和蓬克摇滚乐迷。Rock music has mostly been seen as a popular culture especially among youth and explored in this way. 摇滚乐,大部分都被认为是流行文化特别是青少年和探讨的问题。Works of theorists like Adorno (1991), Frith (1983) and Fiske (1989) put emphasis on the interdependence between the psychology of youth, postmodern theory and popular culture. 作品像阿多诺理论》(1991)弗里斯(1983)和摘要费斯克(1989)强调的相互依赖性后现代理论青春、心理学、大众的文化。Some scholars including Whiteley (1997) and Reynolds (1995) have explained rock music‟s anxious character, which originates from its masculinity. 一些学者包括Whiteley(1997)和雷诺(1995)已经解释了摇滚音乐焦虑的性,这源于悠久的男子气概。There are various approaches taken in order to explain the role of rock music in determining the preferences of youth. 有各种方法采取为了解释摇滚音乐的角色在决定对青年。At the same time, Mellers (1973) considers rock music from an anthropological and ethno-musicological framework, comparing it to the „music of necessity‟ which has a ritual of ceremonial necessity. 与此同时,米勒斯》(1973)认为摇滚音乐从人类学和ethno-musicological框架,比较的音乐”的必要性具有礼节仪式的必要性。In this sense he draws a different line in approaching to the importance of rock music. 在这个意义上,他把另外一条路线在接近的重要性摇滚音乐。It is important to note that for most scholars, including Rosselson (1979), Orman (1984), and Grossberg (1988), rock is the central manifestation of the post-World War II mass culture and mass cultural activity existed in East Central Europe. 值得注意的是,对于大多数学者,包括Rosselson》(1979年),《Orman(1984),Grossberg(1988),岩石的集中体现和二战后大众文化和大众文化活动存在在东中欧。It is questionable and a debated issue for sociologists whether rock music plays a significant role in any process of political change or not. 它是值得商榷的和讨论的问题社会学的摇滚音乐是否起重要作用的政治变革的任何一个环节。There are many studies done in these post-communist; transition countries, including Poland, Hungary, and Czechoslovakia in order to find the answer to this debate by scholars like Mitchell (1992), Ryback (1990), and Wicke (1992).Given the importance of rock music in constituting subcultures, so far, little research has been done about the structure of rock culture in Turkey. 有许多所做的研究在这些后共产主义;过渡的国家,包括波兰、匈牙利、和捷克斯洛伐克的为了找到这个问题的答案辩论学者像米切尔(1992),Ryback(1990年),和Wicke(1992)坚强的摇滚音乐的重要性在制定亚文化群,到目前为止,已做了大量的研究很少关于结构的岩石文化在土耳其。Akay, Firat, Kutlukan and Gokturk made an important study about the rock life in Istanbul in 1995. Akay Firat,Kutlukan和Gokturk,做出了重要研究关于火星岩石生活在伊斯坦布尔在1995年。They analyzed the developing rock life among youth in Istanbul and rock culture‟s status in the early 1990s.他们分析了发展岩石青少年生活在伊斯坦布尔和岩石文化目前已在上个世纪90年代早期。However, the rapid changes in the music industry and technology, as well as some certain events took place after 1995 necessitated a new study in Turkey in order to understand the shift in social dynamics. 然而,快速改变音乐产业及技术,以及某些特定的事件发生在1995年一项新的研究需要在土耳其以了解社会动态的转变。For example, cable TV, which led videos of rock songs to be influential on youth culture, was not common before as it is now. 例如,有线电视录像,导致了摇滚乐是影响青年文化之前并不普遍,像今日一样。It is also same for Internet allowing the audiences to download the music they want to listen. 它也是一样为因特网让观众下载音乐他们想听。Rock music is more available now and it is more demanded by various segments of society. 现在有更多的摇滚乐,要求社会各阶层。The other change took place after publishment of Akay et al.‟s book was the accusation of rock music as the music of Satan after some Satanistic crimes that led to a process of Satanist and rocker hunt. 其他的变化发生在出版Akay苏达权等的书肯定是摇滚音乐的谴责的音乐Satanistic撒旦后导致犯罪,撒旦主义者摇杆产生的过程中打猎。As a result of this process and technological developments rock culture in Istanbul has changed.由于这次的过程和技术发展在伊斯坦布尔岩石文化已经改变了。 More About : 岩石文化:从地下到表面 本文来源：https://www.dywdw.cn/fae89b30b90d6c85ec3ac6fe.html
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2022-04-11
