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The paper focuses on a historical phenomenon that has been little studied: the way in which the music industry, particularly the progressive rock movement that emerged from the counterculture in the 1960s, gradually became subject to the laws of marketing. The roots of this "quiet revolution" are studied starting from the sponsorship negotiated by the Pink Floyd, in 1974, with a famous brand of soft drinks called Gini. The band members agreed that a series of concerts would be partially financed by a multinational company, justifying this choice by the desire to reduce the price of tickets for the fans. While the justification is commendable, it is an essential step towards the triumph of the entertainment society dominated by mercantile values. From this point of view, the Pink Floyd/Gini "affair" can be seen as a key moment for the development of modern marketing. [ABSTRACT FROM AUTHOR]

With his long‐established interest in transient architecture, architect and academic Robert Kronenburg has been a longstanding friend of the STUFISH organisation. Here he probes the notion of 'reminiscence bumps', many of which are conditioned by music, concerts and shows and our experience of them. These bumps help make us into the individuals that we are and act as touchstones in our memories that traverse time. [ABSTRACT FROM AUTHOR]

S. Leonard Auerbach is Founder and Design Director of San Francisco‐based Auerbach Pollock Friedlander (APF) who provide theatre and theatrical systems design and audio‐video consulting services. He charts a series of creative interactions and collaborations with STUFISH from 2003 onwards that are highly architectural and theatrical, and international in their scope. [ABSTRACT FROM AUTHOR]

Ash Nehru is a co‐founder of Disguise – a platform that allows creative ideas to combine with software and media server hardware technologies of the sort regularly employed by STUFISH's productions to bring digital video layers into their physical staging designs. Here he examines the use of mixed realities for contemporary performance and their continued potential as new technologies come online. [ABSTRACT FROM AUTHOR]

The article explores from pharaohs, to princes, popes to pop stars, architecture has consistently been used as the catalyst to augment the power of performance. The desire for spectacle and its appropriate setting goes back millennia and architecture has been at the centre of its delivery. Whether it is the Pyramids of Giza, the agoras of ancient Greece, the Colosseum, circus, arena or stadium, architecture has provided the envelope and backdrop for the unfolding performance.

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Popmusik ist die in jüngerer Zeit von den musical performance studies generell hinterfragte Trennung zwischen ›Werk‹ und ›Interpretation‹ kaum anwendbar, performance (gerade auch, wenn sie vorwiegend im Studio stattfindet) kann als ein integraler Bestandteil eines Songs oder Albums verstanden werden. Der vorliegende Beitrag versucht, Schnittstellen zwischen der Analyse von performance und musikalischer Analyse von Popmusik aufzuzeigen: Einerseits gibt eine Untersuchung der Studioarbeit von Popkünstler*innen nicht nur Einblicke in die Entstehung von Popmusik, sondern erlaubt auch Rückschlüsse auf Ästhetik und musikalische Konzepte der Künstler*innen, die wiederum Anhaltspunkte für die musikalische Analyse bieten. Andererseits lassen sich Coverversionen ähnlich vergleichend studieren wie üblicherweise verschiedene Interpretationen klassischer Werke betrachtet werden. Diese Vorgehensweisen werden anhand je eines konkreten Beispiels diskutiert – Pink Floyds Album Wish You Were Here (1975) und Jordan Rudess’ Coverversion (2007) von Genesis’ Dance on a Volcano (1975/76). Beide Beispiele gehören zur Progrock-Tradition und weisen ähnliche musikalische Komplexität auf; die Art und Weise dieser Komplexität aber unterscheidet sich und reflektiert unterschiedliche Produktionsstile: Bei Pink Floyd steht ein gleichsam vegetativer, großen psychischen Belastungen entspringender Wachstumsprozess im Vordergrund, der zu einem dichten Netz musikalischer Bezüge innerhalb des Albums führt, bei Jordan Rudess ein rational geplantes, ökonomisches Verfahren, dessen Resultat seine Wirkung nicht zuletzt aus der Virtuosität der Musiker bezieht. // The separation between a ‘work’ and its ‘interpretation’, which has been questioned in recent musical performance studies, is hardly applicable in pop music; performance (especially when it predominantly takes place in the studio) can be understood as an integral aspect of a song or album. The present article examines possible ‘interfaces’ between the analysis of performance and musical analysis of pop music. On the one hand, by studying production processes in pop music we gain insight into the aesthetical and musical concepts of the artists, which can in turn inform the musical analysis. On the other hand, cover versions of pop music may be analyzed in the same way that different interpretations of classical music are compared. These two approaches are applied to Pink Floyd’s album Wish You Were Here (1975) and to Jordan Rudess’ cover version (2007) of Genesis’ Dance on a Volcano (1975/76). Both works belong to the prog rock tradition and display a similar level of musical complexity; the way in which these works are complex, however, differs and reflects different production styles: Pink Floydʼs album is the result of a quasi vegetative growth under strong psychological distress, leading to a dense network of musical cross-references throughout the album; Jordan Rudess, on the other hand, proceeds rationally and economically, and the artistic effect of the result owes much to the virtuosity of the musicians.

The us/them divide seems the topic of the day in the era of international populism. Its story, though, runs much deeper than we could imagine and deals with some issues which have marked Western public sphere. In this short paper I will start out with a remarkable peace of popular culture and move on, at first, to present a concise sketch of the development of the aforementioned dichotomy in the realm of political theory since the 18th century. I will subsequently highlight the changes undergone by the same within contemporary populist ideology and discourse in order to reappraise its inner logic and impact.

Copyright of ZARCH: Journal of Interdisciplinary Studies in Architecture & Urbanism is the property of Universidad de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The epic 1975 Pink Floyd song "Shine on You Crazy Diamond" was written, in part, as a requiem for the band's former leader, Syd Barrett, who suffered a mental breakdown. This article suggests that the musical structure of "Shine On" corresponds to the popular model of the five stages of grief: shock, yearning, anger, depression, and acceptance. Portraying the bereavement process of a band that had never recovered from the traumatic loss, this emotional arc imbues the piece with a powerful, genuine framework that demonstrates the band's propensity for evoking emotions through lyrics, composition, and meticulous arrangement and production. [ABSTRACT FROM AUTHOR]

The following investigation focuses on power relations in Pink Floyd’s The Wall. Speci cally, this article centers on the images of authorities on the album: the teacher, the physician, and the judge. The literary analysis of these characters supported by notions developed by theorists on the subject of power leads to signi cant conclusions on the matter. La siguiente investigación tiene por objetivo analizar las relaciones de poder en The Wall de Pink Floyd. El presente artículo se centra en las imágenes de autoridad en el álbum: el profesor, el médico y el juez. El análisis literario de estos personajes con base en preceptos críticos desarrollados por varios especialistas en el campo de la teoría del poder llevará a conclusiones signi cativas.

Roger Keith "Syd" Barrett (Cambridge, January 6, 1946 - Cambridge, July 7, 2006) was a British singer, guitarist, composer and painter, founder and leader of Pink Floyd from 1965 to 1968, when he left the group. Before retiring to private life, he recorded two solo albums, "The Madcap Laughs" and "Barrett", published in 1970. His experience and skills strongly influenced the subsequent production of the group, especially albums like "Dark Side of the Moon", "Wish You Were Here" and "The Wall". The innovative guitar style of Barrett and his propensity to exploration of new experimental techniques, like the use of dissonance, distortion and feedback, had an enormous impact on several musicians, from David Bowie to Brian Eno to Jimmy Page. After his retirement, Barrett led a secluded life painting and devoted to gardening, completely ignoring all the popularity and by losing his own tracks fueling even more his legend. A series of biographies were written about him since the eighties. In any case, the Pink Floyd composed and recorded several musical tributes dedicated to him after his departure from the band. The use of synthetic drugs of any kind and social withdrawal fostered the clinical impression that Barrett was suffering from schizophrenia. Recent studies, however, would suggest the hypothesis that he was suffering from a low-functioning Asperger's syndrome. The aim of this paper is to review Barrett's data that would indicate that this was actually his diagnosis. [ABSTRACT FROM AUTHOR]

In their seventeen-minute track "Dogs" from the 1977 LP Animals, Pink Floyd used a small amount of material, appropriate to a standard-length song, and expanded each of its sections enormously by employing heavy repetition and an exceptionally slow harmonic pace. Yet how can a rock song that is based on so little material retain vitality over the course of such a prolonged duration? This paper analyzes and assesses the ways in which "Dogs" succeeds in maintaining a sense of variety, direction, and cohesiveness throughout its extended length. Through an inspired scheme of structurally foundational guitar solos, a motivic use of melodic and harmonic tension, and a meticulously woven fabric of text, harmony, texture, sound, and instrumentation, the song maintains a propulsive forward drive in spite of its thematic economy. [ABSTRACT FROM AUTHOR]

In spite of being one the most remarkable and arresting products of late-twentieth-century British popular culture, Pink Floyd's The Wall has received little scholarly attention. This paper focuses on how in The Wall and in its companion album, The Final Cut, the individual life history and the present predicament of its protagonist stand for the postwar period in British history as a whole. The latter represent the identitary crossroads at which the nation was placed after the collapse of the welfare state system and the major socio-economic and political transformation it underwent at the dawn of Thatcherism. In order to show this, we draw an outline of the historical context in which The Wall is inscribed and attend closely to the film's complex temporal structure and rich symbolism. We conclude with a brief discussion on how The Wall leaves in sketch an alternative to the present situation which is based on a retrieval of interhuman affects and on justice as the supreme political virtue. As both love and justice bury their roots in the more humane side of the past tradition of the British nation, the work's Utopian thrust has inevitable conservative overtones. [ABSTRACT FROM AUTHOR]