Why did Cleopatra not play Rock'n'Roll? I'm continuing from page 1 of this thread. This is what I was writing while further comments were posted.
Typical elements of Rock'n'Roll, in my opinion, and in short words:
(May partially occur in other styles as well.)
Rhythm:
4/4 measure at high tempo with syncopated eighth notes or with swinging triplets. On the quarter notes: Low drum sounds on 1 and 3, bright percussion sounds like snare drum or handclaps on 2 and 4 -- boom cha boom cha. Occassional "funky" syncopation accents on all percussion instruments, especially on the cymbals. bo-boom cha bo-boom-bo cha etc. There's a lot of swing in Beethoven's 6. symphony in the two Allegro movements, for example. Di-da-da, di-da-da, di-da-da ... swing, swing, swing ...
Melody:
Mainly pentatonic. The pentatonic scale sounds optimistic and forceful. There's no mourning minor chord and no sickly-sweet major chord. Some bluesy "blue" notes may appear, e.g. A+g or E+d etc. Chord progression is simple, mostly consisting of no more than three chords. Audiences can participate easily.
Sound:
Distortion is welcome in the voice and in the melody instruments. What do I mean by distortion? The voice of opera singers, for example, is never distorted. Their air pressure will never exceed the limit above which the clean sine wave of their oscillating voice chords would be clipped. Rock singers don't care about that limit; they often overdrive the air pressure to clip the sine curve, and this generates additional "screaming" overtones, and these overtones cause a psychoacoustical effect: The sound seems to be louder even though the amplitude is not neccessarily greater. Stradivari violins, for instance, are known for their intensive overtones, and that's why they can very well be heard as a solo instrument in large concert halls with an orchestra in the background. A sitar, for example, generates distortion as its strings cannot freely oscillate; so the string's sine wave will be clipped mechanically. Wind instruments too can be overdriven by high air pressure. Trumpets were found in the burial chamber of Pharaoh Tutankhamun. I guess they generate a lot of overtones; i.e. they probably sound like a single string of a Gibson Les Paul played through a stack of overdriven Marshall amps. In short: Distortion is welcome in Rock'n'Roll because it makes the music sound loud (even if it's not physically loud), and this loudness is part of the optimistic expression; see next point.
Rebellion:
That optimism has a goal: Get rid of the repression. Get rid of the unfair authorities. Abolish the monarchy, the slavery, racism, sexual constraints. We are strong. Participate. The future is bright if we are many and if we come together. Beethoven liked the French Revolution and the fall of the monarchy (but didn't like Napoleon later on). Elvis Presley was a rebel against sexual constraints. Rock'n'Roll is an optimistic movement; it supports those that get repressed. It's about the freedom of those repressed people, not about the freedom of the slavedrivers, kings or popes. Ike Turner wasn't a Rock'n'Roller; he was a wannabe king. Tina was a true Rock'n'Roller; her optimism was stronger than the violence she had to endure.
Maybe some ancient Egyptians played Rock'n'Roll already. I don't know. The thread title is just a symbolic picture. The main question is about the link between contemporary music and contemporary environments, and whether Rock'n'Roll can only be a product of our time.