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Thorough research and analyses on the theory and history of rock music have not been published until recently. The reason for this stems from the relatively short history of rock music as a genre, which does not allow an adequate analytical perspective on the historical and artistic values of rock. Furthermore, the existing methodologies used in other areas of musicology cannot be directly applied to rock music, since rock has its own specific characteristics that differentiate it from other genres of music. The issue is further complicated because much previous research has coupled its analysis with non-musical disciplines such as sociology and other social sciences, business management, economics and aesthetics. With those aspects being perhaps the most commonly researched, rock encyclopaedias and dictionaries have mainly focused on the most successful bands and their songs, financial earnings, the songs’ highest rating in British and American charts and how many weeks they stayed there. Aesthetic and sociological works on rock music have tried to illuminate the importance of rock personalities, and their appeal to the listener, by examining both the musical subcultures and the social milieu of the listener. For example, Dieter Baacke, one of the first rock theoreticians, in Beat – die sprachlose Opposition1 identifies “criminals, and counter-cultural and rebellious group movements” as being associated with 1960s beat music. They organised protests without a clear purpose. Amongst the “criminals”, Baacke saw groups of “politically radical” students who based their ideas on theory and organized collective protests. The “beatniks” included bands, along with...
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