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Topic: Robert Walser (musicologist)

	Robert Christgau: Serious Music: Robert Walser's "Running With the Devil"
		Walser shares this resentment, and indulges in the defensive overstatement it invariably sparks (you'd never guess that many of the young critics who grew up hearing metal remain selectively sympathetic).
		His case for the frequently disparaged notion that musical usages have emotional meaning--based mostly on the observations of musicians themselves but shaped by the concept of permanently provisional "discourse" that is one of poststructuralism's most essential insights--is thorough and sophisticated without betraying the idea's common-sense roots.
		Walser scores some points about glam androgyny, but cops out when he argues that metal sexism is "shaped by patriarchy" like everything else in this society--in fact, the intensity of its phallic narcissism has few parallels outside X-rated movies, toilet art, and (oh yes) rap.
	www.robertchristgau.com /xg/bkrev/walser-cp.php (862 words)

	Robert Walser (musicologist) - Wikipedia, the free encyclopedia
		Robert Walser is a musicologist associated with the "new musicology".
		Robert Walser currently is a member of the faculty at the University of California, Los Angeles.
		Biography of Robert Walser (UCLA Department of Musicology)
	en.wikipedia.org /wiki/Robert_Walser_(musicologist) (92 words)

	Copyright Infringement
		Walser further testified that the choruses in both One and Thank God shared a similar structure in that measures five through seven of each chorus were "almost exactly" the same as the first three measures of each chorus.
		Walser labeled his transcription of the basslines a"reduction" because he transcribed only the "basic, emphasized pitches and rhythms." Dr. Walser thus did not include any bassline notes or pitches he found to be "ornamented" in his transcriptions.
		Carey relies on Dr. Walser's testimony that the first measure of One was a "short musical idea." Carey's reasoning is fallacious for a number of reasons, the most basic being that a musicologist is not an expert on what the term "idea" means under the copyright laws.
	www.davidopderbeck.com /baruchipunit9sec4.htm (3127 words)

	Heavy Metal
		Walser further elaborates that a power chord "is a musical interval of a perfect fourth or fifth on a heavily amplified and distorted electric guitar," which can be percussive and rhythmic or indefinitely sustained.
		Walser dissects the anatomy of a power chord, which is the frequency that is the difference between the frequencies of the main tones, which are often lower than the guitar can normally produce.
		Walser brushes off the charge that metal lyrics are especially misogynist by comparing them to a series of much more blatantly offending lyrics by the "king of pop," Michael Jackson.
	www.fastnbulbous.com /metal.htm (5644 words)

	UPNE - Running with the Devil (Site not responding. Last check: 2007-11-05)
		A musicologist and cultural critic as well as a professional musician, Robert Walser offers a comprehensive musical, social, and cultural analysis of heavy metal in Running with the Devil.
		Walser explores how and why heavy metal works, both musically and socially, and at the same time uses metal to investigate contemporary formations of identity, community, gender, and power.
		ROBERT WALSER is Professor and Chairman of Musicology at UCLA.
	www.upne.com /0-8195-6260-2.html (404 words)

	pgReqs
		Walser pulls together a few concepts and observations of heavy metal to formulate a theory that heavy metal is an expression or experience of power.
		Walser theorizes that for people who feel disempowered, it might be especially appealing to listen to or perform a kind of music that feels somehow powerful.
		Walser compares the sustain quality of heavy metal to pipe organs in large churches, which also have long sustain and seem to symbolize (through sound) the Power of God.
	www.de2.psu.edu /academics/faculty/greene/Music7_9/pgReqs.htm (4755 words)

	Mike Daley - essay - Vocal performance and speech intonation: Bob Dylan's "Like A Rolling Stone" (Site not responding. Last check: 2007-11-05)
		Robert Walser has traced the 18th century origins of the term “virtuoso”, a word that is popularly though of as referring to technical mastery.
		Walser points out that this technical mastery was always in the service of expressive and rhetorical control (see Walser 1993).
		Thus the highly tonicized first pitch gesture of this verse might be interpreted as a kind of fanfare; musicologist Philip Tagg characterizes such strong upward pitch sweeps as "a call to attention and action, a strong movement upward an outwards...energetic and heroic" (Tagg 1979:14).
	www.mikedaley.net /essay_vocalintonationbobdylan.htm (4065 words)

	Sound and Mind » ‘Science, Music, and the Brain,’ a talk by Robert Walser
		Robert Walser, a musicologist from UCLA, gave a talk at Yale this week entitled ‘Science, Music, and the Brain: A Humanist Cogitates.’ Without summarizing the whole talk, I would like to point out three points which he made which I think are worth repeating and discussing.
		And this is why, I think, Walser chose to use the phrase ‘value systems’ rather than a more benign-seeming music-theoretical term.
		And this brings me to the last point: ‘meaning is not transmitted, it’s co constructed.’ This part of Walser’s talk was devoted primarily to deconstructing the ‘conduit metaphor,’ where music is communication, i.e.
	soundandmind.amsteg.org /?p=30 (788 words)

	Give the DJ Some (Site not responding. Last check: 2007-11-05)
		On the flip side, musicologist Robert Walser (1995) not only takes time to defend hip-hop music from Euro-centric detractors but grants the music its own discursive ability.
		Citing another great African-American intellectual, Cornell West, Walser states that hip-hop combines “‘the two major organic artistic traditions in fl America,’ the rhetoric of fl preaching and the rhythms of fl music” (Walser 1995: 208).
		According to Potter, the breakbeat is a rupture in discourse, “noise” in a sense similar to Walser’s, and a “break” from historical narrative in the post-modern sense.
	home.comcast.net /~lwinant/givethedjsome.html (6219 words)

	homestudio - revue audiolab (Site not responding. Last check: 2007-11-05)
		However, it is vital to acknowledge the backwardness of musicology with regard to cultural and feminist theory, especially in comparison to literary, film, and performance studies.
		Like Solie, she is a feminist musicologist and has a solid grasp of literary theory.
		Feminine Endings is an important beginning, an expansion of her and Robert Walser's work in "Start Making Sense: Musicology Wrestles with Rock" to bring the tools of musicology into Cultural Studies and the concerns of Cultural Studies into musicology.
	homestudio.thing.net /revue/content/schwarz.htm (2971 words)

	Robert Christgau: Thinking About Musicking: Christopher Small
		Soon, however, Music, Society, Education received a glowing notice from the pop-friendly English musicologist Wilfrid Mellers.
		The concept definitely encompasses dancing and listening--a girl with a Walkman is one of his prime examples.
		But like so many pop sympathizers with folk affinities--I think of Robert Palmer in Rock and Roll: An Unruly History, of Robert Cantwell in Bluegrass Breakdown, and especially of Charles Keil, who's made a mission of teaching elementary schoolers and frat-rat klutzes to play the drums--he's enamored of live performance and suspicious of recordings.
	www.robertchristgau.com /xg/rock/small-00.php (1317 words)

	Yngwie Malmsteen News
		If the image of a pre-pubescent Yngwie grooving to the strains of "Watcher of the Skies" seems strange, it's probably because Eighties heavy metal is usually not thought to be much indebted to Seventies progressive music.
		And it is worth noting that Malmsteen does not feel that he was influenced by progressive rock guitarists like King Crimson's Robert Fripp or Yes virtuoso Steve Howe ("no influence at all," he claims); it was the way these groups used classical music in a rock context that inspired him.
		GW: Walser, for instance, places you in a succession of virtuoso metal guitarists beginning with Ritchie Blackmore, continuing with Randy Rhoads and Eddie Van Halen, and leading to you.
	www.yngwie.org /Covach.htm (3359 words)

	Triniman's Blog: DVD - Metal A Headbanger's Journey (Site not responding. Last check: 2007-11-05)
		The topic of suicide rears its ugly head but Dunn doesn't get too much into the stories about bands being sued for causing kids to commit suicide, which is a pathetic accusation in the first place.
		It's noted by UCLA musicologist Robert Walser that the most powerful predictor of whether someone will commit suicide is the feeling of helplessness...but no one listens to metal to feel helpless.
		Dunn also peppered the film with insightful analysis and commentaries from members of academia who are knowledgeable about metal, journalists, a musicologist and industry insiders,including Brian Slagel, Bob Ezrin, and Malcome Dome.
	trinimansblog.blogspot.com /2006/04/dvd-metal-headbangers-journey.html (1328 words)

	Harvard University Press \| Music
		Two generations of American music lovers have grown up listening with Robert Christgau, attuned to his inimitable blend of judgment, acuity, passion, erudition, wit, and caveat emptor.
		In this elegant book, premier musicologist Reinhold Brinkmann guides us through Brahms's "Second Symphony," examining musical ideas in all their compositional facets and placing them in the context of major trends in the intellectual history of late nineteenth-century Europe.
		Robert Christgau and Gary Giddins, pivotal critics, encounter Simon Frith and Robert Walser, pioneers in the study of popular music.
	www.hup.harvard.edu /books/music.html (3620 words)

	Heavy Metal's Appropriation of Classical Virtuosity Part II-Ritchie Blackmore and EVH - Music & Musician Forums (Site not responding. Last check: 2007-11-05)
		Here is the second installment of Robert Walser's article.
		The “Thesaurus of Scales and Melodic Patterns) by musicologist Nicolas Slonimsky introduced both jazz and rock musicians to harmonic and melodic possibilities such as harmonic minor scales, modal scales and diminished arpeggios.
		He first played along with them, as if to feel them out, and then gave them a taste of something more substantial until, with his magic, he had ensnared each and every one and could move them this way or that as he chose.
	sputnikmusic.com /forums/showthread.php?t=367216 (4030 words)

	The Future of Classical Music?: Greg Sandow performs a book-in-progress...
		For one thing, he mumbles his words, which first of all makes it hard to understand his songs, but also makes it seem, from a refined perspective, that he can’t be taken seriously.
		Robert Walser, Running With the Devil: Power, Gender, and Madness in Heavy Metal Music; Hanover, N.H.: The University Press of New England (Wesleyan University Press), 1993, p.
		Posted by: Robert Fink at December 7, 2005 01:11 PM Apologies to all -- I haven't been able to respond to comments nearly as much as I'd like to, thanks to the pressure of other work.
	www.artsjournal.com /greg/2005/11/episode_3_what_is_classical_mu.html (15565 words)

	Jazz/Jerry Jazz Musician/Miles Davis and the Double Audience, by Martha Bayles
		I agree with Robert Walser that it is worthwhile to analyze musical performances not as isolated objects but as activities "grounded in a web of social practices, histories, and desires" (360).
		My perspective is not that of a musicologist but that of a critic who has wrestled with the good, the bad, and the ugly in popular music and does not apologize for using such terms.
		To begin with a remnant: It is widely reported that in July 1944 Billy Eckstine's band used the front door (as opposed to the rear "colored entrance") of the aptly named Plantation Club in St. Louis, and for this effrontery were promptly fired.
	www.jerryjazzmusician.com /mainHTML.cfm?page=bayles-davis.html (12551 words)

	Musicology Calendar - Past Events for This Academic Year (Site not responding. Last check: 2007-11-05)
		Laying musicological rubber on the road has prompted further reflections on the responsibility of the citizen musicologist to the public sphere, to the future of the discipline, and to the means for fuller life-actualization through music-understanding and music-making.
		Through the mocking scenarios set up in these songs, disabled people are subjected to the same socio-cultural segregation that discourses of race, class, gender, sexuality, religion, and ethnicity—all the various discourses of otherness—face.
		Interweaving cultural history, a feminist, queer reading of the musicals, visual images, sound and film clips, and autobiography, Wolf considers these characters within the conventions of mid-twentieth century musicals, in relation to the 1960s popular culture image of the Single Girl, and as performed on stage and on film.
	www.humnet.ucla.edu /calendar/0506/musicology.html (2959 words)

	village voice > music > by Robert Christgau (Site not responding. Last check: 2007-11-05)
		The concept definitely encompasses dancing and listening—a girl with a Walkman is one of his prime examples.
		But like so many pop sympathizers with folk affinities—I think of Robert Palmer in Rock & Roll: An Unruly History, of Robert Cantwell in Bluegrass Breakdown, and especially of Charles Keil, who's made a mission of teaching elementary schoolers and frat-rat klutzes to play the drums—he's enamored of live performance and suspicious of recordings.
		As is my practice, I brought a few CDs I thought would be down his alley to our meeting—alt-rappers Blackalicious, the glorious Senegalese Music in My Head.
	www.villagevoice.com /issues/0035/christgau.shtml (1422 words)

	Books in English - Reviews
		Patrick McCreless opens the volume with a comprehensive essay "Rethinking Contemporary Music Theory" exploring the idiosyncratic development of music studies in the US universities and recent attempts to overcome the modernists ideologies in music theory and musicology.
		Despite all criticism of the surprising academic power of music theorists in the USA - surprising at least for me as a German musicologist - most of the authors agree that there’s no alternative to musical analysis: to investigate in detail what’s really going on in the music.
		Memphis, at the top of the Mississippi delta did much to assist the evolution of African-American derived music beyond the blues in the second half of this century.
	www.iaspm.net /rpm/Bks_Engl.html (7790 words)

	cultchoice_testimony
		All I will say is that the sense of humour running throughout Testimony is 100% Shostakovich.
		Composers probably used music paper and musicologists used plain.
		And as far as I know, now one of the informers has ever repented.
	www.penguin.co.uk /nf/shared/WebDisplay/0,,214416_1_10,00.html (890 words)

	Robert_Walser_(musicologist) (Site not responding. Last check: 2007-11-05)
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	www.demandtwinother.info /Robert_Walser_(musicologist) (87 words)

	DVD Review: Metal: A Headbanger's Journey @ Blogcritics.org
		There is an interview with Tony Iommi of Black Sabbath in which he talks about the "accidental" development of their unique sound.
		The twin influences of classical music and blues are then discussed by Bob Ezrin, a record producer and Robert Walser, a musicologist from UCLA.
		The particular sound of heavy metal is discussed in interviews with Deena Weinstein, a sociologist from DePaul University, who has written extensively about the genre.
	blogcritics.org /archives/2006/05/25/180555.php (1753 words)

	Loney's Show Notes
		In Act III, the chorus is still in fl, but this time out, they are in modern-dress.
		In fact, modernity is so much in vogue here that the Witch of Endor [Robert Tear] appears in drag as a Bag-Lady!
		These works are Antigonae, Oedipus der Tyrann, and Prometheus—which Orff told me was a "Festival Opera," as it was too complicated—too many xylophones, for one thing—to hold a place in a regular opera repertory.
	www.nytheatre-wire.com /lt05091t.htm (9727 words)

	What Is This Thing Called Jazz?: CHAPTER ONE
		Like their counterparts, these musicians often envisioned vindication in the concert hall.
		As musicologist Samuel Floyd notes, the "spirit" of the "Negro Renaissance" in Harlem was anticipated by the efforts of early-twentieth-century fl composers such as Scott Joplin, Will Marion Cook, and Harry Burleigh to develop vernacular fl art into extended musical forms.
		Yet musicians' insightful commentary about this "marvel of paradox" was distinguished by their concerns over their treatment as laborers in the music industry.
	www.ucpress.edu /books/pages/9426/9426.ch01.html (17816 words)

	Embodiment and Musical Experience
		True, the neuro-phenomenologic project of bridging the gap between conscience phenomena (perception, experience, emotion, volition, desires, etc.) and their neuronal correlates (CNC) offers neuro-scientific explanations able to increase knowledge about the unity (or connection) of mind and body.
		Nevertheless, the question still remains: what can a composer-performer-listener or a musicologist do with these data?
		He can, of course, satisfy a scientific motivation: these data are candidates for explaining which material (i.e.
	www.sibetrans.com /trans/trans9/pelinski-eng.htm (16137 words)

	Bravewords.com > News (Site not responding. Last check: 2007-11-05)
		HEAVENLY Post Video For 'Spill Blood On Fire'
		MACHINE HEAD's Robert Flynn: "The Blackening Is By Far The Most Complex, Dynamic And Ambitios Album We Have Ever Even Attempted To Pull Off
		Metal: A Headbanger's Journey - "True Headbangers Don't Actually Want Your Approval"
	www.bravewords.com /news/40689 (1096 words)

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