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This Element examines the development and current state of
virtuosic rock guitar in terms of playing, technology, and culture.
Supported by technological advances such as extended-range guitars,
virtuosos in the 21st century are exploring ways to expand standard
playing techniques in a climate expecting ever-higher levels of
perfection. As musician-entrepreneurs, contemporary rock guitar
virtuosos record, produce, and market their music themselves,
operate equipment companies, and sell merchandise, tablature, and
lessons online. For their social media channels, they regularly
create videos and interact with their followers while having to
balance building their tribe and finding the time to develop their
craft to stay competitive. For a virtuoso, the working situations
have changed considerably since the last century; the aloof rock
star has been replaced by the approachable
virtuoso-guitarist-composer-innovator-producer-promoter-YouTuber-teacher-entrepreneur.
Gear Acquisition Syndrome, also known as GAS, is commonly
understood as the musicians unrelenting urge to buy and own
instruments and equipment as an anticipated catalyst of creative
energy and bringer of happiness. For many musicians, it involves
the unavoidable compulsion to spend money one does not have on gear
perhaps not even needed. The urge is directed by the belief that
acquiring another instrument will make one a better player. This
book pioneers research into the complex phenomenon named GAS from a
variety of disciplines, including popular music studies and music
technology, cultural and leisure studies, consumption research,
sociology, psychology and psychiatry. The newly created theoretical
framework and empirical studies of online communities and offline
music stores allow the study to consider musical, social and
personal motives, which influence the way musicians think about and
deal with equipment. As is shown, GAS encompasses a variety of
practices and psychological processes. In an often life-long
endeavour, upgrading the rig is accompanied by musical learning
processes in popular music.
Since its beginnings more than fifty years ago, metal music has
grown in popularity worldwide, not only as a musical culture but
increasingly as a recognised field of study. This Cambridge
Companion reflects the maturing field of 'metal music studies' by
introducing the music and its cultures, as well as recent research
perspectives from disciplines ranging from musicology and music
technology to religious studies, Classics, and Scandinavian and
African studies. Topics covered include technology and practice,
identity and culture, modern metal genres, and global metal, with
reference to performers including Black Sabbath, Metallica and Amon
Amarth. Designed for students and their teachers, contributions
explore the various musical styles and cultures of metal, providing
an informative introduction for those new to the field and an
up-to-date resource for readers familiar with the academic metal
literature.
Since its beginnings more than fifty years ago, metal music has
grown in popularity worldwide, not only as a musical culture but
increasingly as a recognised field of study. This Cambridge
Companion reflects the maturing field of 'metal music studies' by
introducing the music and its cultures, as well as recent research
perspectives from disciplines ranging from musicology and music
technology to religious studies, Classics, and Scandinavian and
African studies. Topics covered include technology and practice,
identity and culture, modern metal genres, and global metal, with
reference to performers including Black Sabbath, Metallica and Amon
Amarth. Designed for students and their teachers, contributions
explore the various musical styles and cultures of metal, providing
an informative introduction for those new to the field and an
up-to-date resource for readers familiar with the academic metal
literature.
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