Hostname: page-component-cd9895bd7-mkpzs Total loading time: 0 Render date: 2024-12-25T15:08:17.655Z Has data issue: false hasContentIssue false
  • English
  • Français

Writing Jimi: rock guitar pedagogy as postmodern folkloric practice1

Published online by Cambridge University Press:  11 November 2008

Jeff Schwartz
Get access Rights & Permissions [Opens in a new window]

Extract

Most instruction in electric guitar, bass guitar, drums and electronic keyboards is conducted on a one-to-one basis by uncertified, independent teachers. The lessons are face-to-face, and based on the student's imitation of the teacher's example. Popular music education is a ‘little tradition’ (in comparison to school music departments) and largely an oral one, thus meeting the usual criteria of folk cultures.

Type
Articles
Information
Popular Music , Volume 12 , Issue 3 , October 1993 , pp. 281 - 288
Copyright
Copyright © Cambridge University Press 1993

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Aledort, A. 1989. Are You Experienced? (Milwaukee)Google Scholar
Aledort, A. 1985. ‘Purple Haze’, Guitar for the Practicing Musician, 09, pp. 89–98Google Scholar
Aledort, A. 1990. ‘Purple Haze’, Guitar School, 11, pp. 43–8Google Scholar
Attali, J. 1985. Noise: The Political Economy of Music, trans. Massumi, Brian (Minneapolis)Google Scholar
Baudrillard, J. 1983. Simulations, trans. Foss, Paul, Patton, Paul, and Beitchman, Philip (New York)Google Scholar
Bay, M. 1972. Modern Guitar Method: Grade 1 (Pacific, MO)Google Scholar
Bennett, H. S. 1983. ‘Notation and identity in contemporary popular music’, Popular Music, 3, pp. 215–34CrossRefGoogle Scholar
Costello, M. and Wallace, D. F. 1990. Signifying Rappers: Rap and Race in the Urban Present (New York)Google Scholar
Daniels, R. 1980. Jimi Hendrix Note for Note (Port Chester, NY)Google Scholar
Eco, U. 1986. Travels in Hyperreality: Essays, trans. Weaver, William (New York)Google Scholar
Goodwin, A. 1990. ‘Sample and hold: pop music in the age of digital reproduction’, in On Record: Rock, Pop, and the Written Word, ed. Frith, S. and Goodwin, A. (New York)Google Scholar
Jimi Hendrix Anthology. 1975 (Hollywood)Google Scholar
Jimi Hendrix: The Forty Greatest. 1978 (Milwaukee)Google Scholar
Jimi Hendrix: The Musician's Collection. 1992 (Milwaukee)Google Scholar
‘Metal, Rock and Blues’. 1992. Guitar for the Practicing Musician, 05, advertisement for Rock Performance MusicGoogle Scholar
Mitchell, C. 1992. ‘Learn to Burn’, Guitar for the Practicing Musician, 05, advertisementGoogle Scholar
Mowitt, J. 1987. ‘The sound of music in the age of its electronic reproducibility’, in Music and Society: The Politics of Composition, Performance, and Reception, ed. Leppert, R. and McClary, S. (Cambridge)Google Scholar
Okun, M. (ed.) 1970. The New York Times Great Songs of the Sixties (Chicago), 2 vols.Google Scholar
Shapiro, H. and Glebbeek, C. 1990. Jimi Hendrix: Electric Gypsy (New York)Google Scholar
Tarshis, S. 1982. Original Hendrix: An Annotated Guide to the Guitar Technique of Jimi Hendrix (Milwaukee)Google Scholar
Walser, R. 1992. ‘Eruptions: heavy metal appropriations of classical virtuosity’, Popular Music, 11, pp. 263–308Google Scholar
Whitehill, D. 1991. Radio One (Milwaukee)Google Scholar
Whiteley, S. 1990. ‘Progressive rock and psychedelic coding in the music of Jimi Hendrix’, Popular Music, 9, pp. 37–60CrossRefGoogle Scholar