English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

By closely analyzing the work of three musicians, this article considers rhythm guitar techniques, a much-neglected aspect of artistic expression. Malcolm Young of AC/DC provided the underappreciated riff-based foundation for his more famous brother Angus’s soloing, but overall the group’s output still came with the baggage of rock music’s inherent sexism. Disregarding strict genre classifications and turning to folk or early country (exemplified by Maybelle Carter) and reggae (exemplified by Bob Marley), one can see parallels in rhythmic accompaniment with a slightly more egalitarian bent. All three guitarists offer a glimpse into an under-researched and diverse arena of musical practice.

Let There Be Guitar: Rhythm Techniques in the Music of Malcolm Young, Maybelle Carter, and Bob Marley