1. Many of the articles talk about whether or not rock music can and should be considered a Fine Art.

(Durant, 1985; Gracyk, 1993; Lacher, 1994; Powers, 2012; Regev, 2011) 2. Many researchers write about journalism when rock was gaining momentum.(Brennan, 2013; Denning, 1984; Durant, 1985; Powers, 2012; Turrini, 2013) 3. The logistical aspects of rock music are often discussed, including the lyrics and specific instrumentals (Hesselink, 2014; Racic, 1981; Rings, 2013) 4. Rock music and musicians are often analyzed by Psychologists. (Gracyk, 1993; Racic, 1981; Regev, 2011; Appel, 2014) 5. Quite a few of the authors include the early history of rock music in their articles. Not only do they use the history as an example of a claim they make, they also use it in order to connect the audience with their over-arching thesis. (Brennan, 2013; Cutietta, 1986; Denning, 1984; Gracyk, 1993; Hesselink, 2014; Powers, 2012; Regev, 2011; Turrini, 2013)

Works Cited
There are no sources in the current document.

Works Cited
Appel, N. (2014, January). Ga, ga, ooh-la-la: the childlike use of language in pop-rock. Popular Music, 33(1), 91-208. Brennan, M. (2013, December). Nobody Likes Rock and Roll but the Public: Down Beat , Genre Boundaries and the Dismissal of Rock and Roll by Jazz Critics. 36(5), 559-577. Cutietta, R. (1986, April). Rock Music Gets a Label. Music Educators JournalVol. 72, No. 8 , pp. 36-38. Denning, M. (Spring- Summer, 1984). Rock Music. The 60's without Apology , 327-328. Durant, A. (1985). Rock Revolution or Time-No-Changes: Visions of Change and Continuity in Rock Music. Popular Music Vol. 5, Continuity and Change, pp. 97- 121. Gracyk, T. A. (1993, Summer). Romanticizing Rock Music. Journal of Aesthetic Education Vol. 27, No. 2, pp. 43-58.

Hesselink, N. (2014, Jan). Rhythmic play, compositional intent and communication in rock music. Popular Music;, 33(1), pp. 69-90. Lacher, K. T., & Mizerski, R. (1994, September). An Exploratory Study of the Responses and Relationships Involved in the Evaluation of, and in the Intention to Purchase New Rock Music. Journal of Consumer Research, 21(2), 366-380. Powers, D. (2010, Oct). Rock Criticism's Public Intellectuals. Popular Music & Society, 33(4), pp. 533-548. Powers, D. (2012). Long-haired, freaky people need to apply: Rock music, cultural intermediation, and the rise of the 'company freak' (English). Journal of consumer culture [J. consum. cult.], 12(1), pp. 1-18 18p ref 1 p.1/4. Racic, L. (1981, December ). International Review of the Aesthetics and Sociology of Music, Vol. 12. pp. 199-202. Regev, M. (2011, MAy). Pop-Rock Music as Expressive Isomorphism: Blurring the National, the Exotic, and the Cosmopolitan in Popular Music. American Behavioral Scientist, 55(5), 558-573. Rings, M. (2013, Feb). Doing It Their Way: Rock Covers, Genre, and Appreciation. Journal of Aesthetics & Art Criticism, 71(1), pp. 55-63. Turrini, J. M. (2013, Sep). "WELL I DON'T CARE ABOUT HISTORY": ORAL HISTORY AND THE MAKING OF COLLECTIVE MEMORY IN PUNK ROCK. Notes, 70(1), pp. 59-77.