Scientific research has shown music activates more portions of the brain than any other human activity. It is no wonder rock music has such a powerful effect on teenagers. But is that effect positive or negative?
F or some of us, it began late at night: huddled under bedroom covers with our ears glued to a radio pulling in black voices charged with intense emotion and propelled by a wildly kinetic rhythm through the after-midnight static. Growing up in the white-bread America of the Fifties, we had never heard anything like it, but we reacted, or remember reacting, instantaneously and were converted. We were believers before we knew what it was that had so spectacularly ripped the dull, familiar fabric of our lives.
What happens between a teenager's headphones? Today's kids aren't listening to the bands you liked at their age -- you already know that. Young people tend to use music as a way of defining and sharing their sense of self, identity, or "personal brand.
I did not like it at first, but as I grew older my interest seemed to change and got a liking for that kind of rebellious rock music. I placed the genres in a way of what might happen once teens actually listen to Punk Rock. Some ideals have been taken to the extremes, but the major issue here is that music always affects our way of thinking. What differentiates punk rock from other types of music is that it often brings a negative result in teens.
Elvis may have been the king of rock-n-roll, but his throne was built by a bunch of slide-rule-slinging squares. It all coalesced 60 years ago when, inthe first rock hit appeared in the pop music charts. It took the catalyst of technology to connect the new multicultural mash up of country, rhythm and blues, and standard pop with a mass market just waiting for something new.
The s were a time of monumental transition — color replaced black-and-white, the century of the self was coming into full bloom, and the American Dream was taking its first bold steps into new economic freedom after the sequential devastation of the Great Depression and World War II. But one particular change that took place in that seminal decade grew to be a central driving force of contemporary culture. Local ministers might get up in their churches almost always well covered by local newspapers and attack demon rock as jungle music and threaten to lead a crusade to have this Presley boy arrested if he dared set foot in their community generally, there was no problem, their towns were too small for him to play.
Amy Morin has been writing about parenting, relationships, health and lifestyle issues since Her work appears in many print and online publications, including Mom. Morin works as a clinical therapist and a college psychology instructor.
Through several different times in history, music has influenced teenagers. Teens in America are a prime example of how music has effected teenagers economically, physically, and even psychologically. Different decades lead to different styles of popular music, but the effects are about the same. Popular music can be used by: companies as a marketing gimmick, young teenagers trying to become recognized by starting as a garage band, or just used for entertainment purposes.
The two major developments were the advent of MTV and the compact disc. Music became more diverse, with new wave, heavy metal, rap, techno pop, alternative rock and the "new" country sounds. And music became a huge marketing tool as filmmakers, TV producers and manufacturers of everything from sneakers to soft drinks used hit songs and hot performers to sell their products.
Parents of adolescents who can't tell heavy metal from pop rock may have a tough time discussing the meaning of life with their children, say two professors of communication in a new book on youth and music. That's because music is central to youth culture. At an adolescent party, the key question is not what you do but what music you listen to. The authors, Professor Donald Roberts of Stanford and Professor Peter Christenson of Lewis and Clark College, a former graduate student of Roberts', spent three years organizing the available research into a coherent overview for those concerned about the influences of pop music and about efforts to censor it.