International Society for Jazz Research

Hardly any other music form which enjoys popularity today is so burdened with myths as is Rock music. The most different effects and qualities are accredited to it: it should be an expression of alternative norms and values, it should offer social manoeuverability, it should even be capable of providing vehement social criticism, but it should also simply be an object for capital investment. Like in a self service store, anyone who expresses an opinion concerning the theme, can reach here and there, and pick out the most favourable arguments to use in defense of his point of view.

In this article, the authors describe the myths and supposed effects of Rock music, those myths which not only most frequently occur, but which over the years have obstinately found their way into the Rock music scene and have stayed. They attempt to put these myths to rest via confrontation with empirically won knowledge and use as an explanatory model a so-called "referentialistischen Ansatz". This criticism originates from the point that music - any music - possesses no definite character in itself, that the criteria for judging and the effects of the music must first be defined in a social context. The effect which the music produces does not allow any conclusions concerning its character, but results from the reception and attention which the public provides.

The authors analyse the social position of Rock music and come to the conclusion that it here primarily handles with a middle class phenomenon and with a piece of present day culture. Rock music is, in spite of all appearing opposition, securely anchored in the western industrial and social system. The rebellious nature which is so heavily attributed to the music, serves as its primary selling factor and concentrates its appeal within a definite target group, the youth.

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