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Unit Iii - Rock, Electronic Music and the Recording Instustry

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Unit Iii - Rock, Electronic Music and the Recording Instustry 74 UNIT III - ROCK, ELECTRONIC MUSIC AND THE RECORDING INSTUSTRY A. Audio-Visual Materials: Recordings and Filmstrips Used in Unit III B. Lessons 1. Pop Music in the 1950's and 60's (Filmstrips) 2. Rhythm and Blues and Early ROCK and Roll 3. Rock and Roll as Teenage Music 4. The Innovations of The Beatles 5. Gospel and Soul 6. Pop Music in the 1970's (Filmstrips) 7. Other Trends in 1970's Rock 8. How Electronic Music is Produced (Filmstrips) 9. How a Recording is Made (Filmstrips) 10. Review 11. Exam Doc. 0478B/Page 1 75 RECORDINGS AND FILMSTRIPS USED IN UNIT III (60) Lesson 1 Pop Music in America EAV Filmstr ips Parts ~4 and 6 Lessons 2-3 History of Rhythm and Blues, Volume 2 Atlantic SD 8162 Elvis - The '56 Sessions RCA PL 42101 Chuck Berry's Greatest Hits Everest FS 321 Bill Haley and the Comets Springboard SPB-4066 Beach Boys - Surfin' U.S.A. or equivalent Lesson 4 Magical Mvstery Tour Capital 2835 Sergeant Pepper's Lonely Hearts Capital 2835 Club Band Beatles - White Album Capital SWB 0101 Lesson 5 The Mighty Clouds of Jov Peacock 121 The Gospel Soul of Aretha Franklin Checker 10009 History of Rhythm and Blues, Volume 2 Atlantic SD 8162 Motown - ~he First Decade Motown'MS 731 Lesson 6 Pop Music in the 70's EAV Filmstrips ~l and 2 Lesson 7 Led zeppelin Atlantic SD 19129 Bruce Springsteen - Born to R~n Columbia 33795 Chic - Le Freak Atlantic 3519 B 52's - ROCK Lobster Warner BSK 3355 Lesson 8 Electronic Music EAV Filmstrips ~l Lesson 9 How a Recording is Made EAV Filmstrips ~l and 2 Doc. 0478B/page 2 (0 UNIT III - LESSON 1 AI~ How did rock music develop from 1954-l969? PERE'OR!AANCE OB.TECTIVES Students will be able to: name important performers and personalities in rock music indicate musical influences that led to the development bE various rocK styles discuss sociological reasonsEQr the popularity of rock MarlVATION Two EAV filmstr ips: Part 4 "Rock n' Roll" and Part 6 "Rock - 1960-1969" of Pop Music in America. PROCEDURES 1. Show the filmstrip; review the following highlights of the filmstrip; make copies of these notes for class or write on board Ear students to copy in their notebooks. 1. Rock n' Roll A. Musical influences: - country and western - hon.ky-tonk blue grass - rhythm and blues B. Sociological influences: relative prosperity ~ conservative Eisenhower years ~ McCarthyism - school desegregation decision - during affluent fifties, teenagers became market for youth oriented songs about love, school, clothes, cars, teenage rebellion C. Performers: - Alan Freed - OJ on WINS Elvis Presley - style blended country, gospel, and country blues with showmanship and sex appeal Chuck Berry Little Richard - ngospel soundsn The Platters - falsetto Fats Domino Eo Diddley D. ?J helped to popularize this style Doc. 0478B/page 3 77 2. Rock - 1960-1969 A. Political influences: - March on washington - War in Viet Nam B. Among sociological influences were: assasinations of J. F. Kennedy, Martin Luther King, Malcom X, and Robert Kennedy - time of material affluence baby boom - music was cr~ated by youth for youth racial conflict - "bla~k is beautiful," "black power" drug Gulture - "hippies" anti-war demonstrations violence C. Musical changes: new sounds - electric instruments amplified bass played percussively drum patterns became more intricate guitar sounds development in electronics - multi-track recordings imaginative arrangements acid rock wi~~ light shows, mUlti-media effects, and amplifiers to sug~est drug experience D. Performers: Peter, Paul & Mary Beatles - style evolved in 1970's; spoke against apathy, expressed 10ne1iness and alienation - Dylan - from folk to folk-rock had personal message Sonny and Cher The Mamas and the Papas Simon and Garfunkel Soul: Aretha Franklin Ray Charles Ike and Tina Turner The Supremes Sly and the Family stone - San Francisco - Acid Rock: Grateful Dead Jefferson Airplane Moby Grape Country Joe and the Fish - British Blues: The Rolling Stones Er ic Clapton Page revived Muddy Watecs B. B. King - American blues: Janis Joplin J imi Hendr ix - woodstock: the concept that love can defeat hypocrisy, greed and violence Doc. 0478B/Page 4 78 POINTS FOR FURTHER DISCUSSION How does the current conservative trend in American politics express a reaction to L~e ideals of the sixtie? This trend expresses a yearning to return to another era. Which era? Doc. 0478B/Page 5 79 UNIT III - LESSON 2 .;'I:-t How did rhythm and blues become commercialized as cock and roll?" ?SRFORMANCE OBJECTIVES Students will be able to: discuss the style of Elvis pre~iey and the reasons for his popularity discuss prominent rhythm and blues groups and compare the styles in which they performed to that of Elvii; Presley define the following terms: race records, rockabilly, falsetto, basso profunda, reverberation, rock and roll, rhythm and blues, back beat MOTIVATION Play "Heartbreak Hotel" from Elvis '56 Sessions (1956 - Side 1, Band 2) . Elvis was 21 years old when he recorded this album. Have the class identify the performer and ask: How did Elvis look and dress? (D.A. haircut, pompadour, tight black pants, black leather jacket, pointy boots, open shirt) His appearance was that of a juvenile delinquent or a lower class white male. Mention that when Elvis appeared on The Ed Sullivan -Show in 1956, he was only shown from the waist up. His gyrations which many considered "indecentn earned him the nickname "Elvis, the Pelvis." Teen~ge girls went berserk wqen he performed. He served as a type of "sexual escape valve." ~sk: Why did Elvis' voice have such a peculiar ring? The recording engineer added a great deal of reverberation (echo effect) . ?RCX:EDURES 1. write terms on the board and provide a definition when they appear in the lesson. Have students copy into their notebooks. Terms -rhythm and blues -coun try -race records -rockabilly -rock and roll -falsetto -basso profunda -back beat -re'lerber ation Doc. 0478B/page 6 80 2. List all songs and artists. Add descriptions and have students copy into their notebooks. Elvis Presley: ~Heartbreak HotelN "Shake, Rattle and Roll~ "Money Honey" "Hound Dog'" Clyde McPhatter: ~Money Honey~ Joe Turner: "Shake, Rattle and Roll" Chords and Crewcats: "Sh-Boom" Feaches and Herb: "Close Your Byes" 3. Elvis presley Mention that Elvis Presley came from Memphis, Tennessee, a famous blues town. He heard many rhythm and blues performers, a style recorded in the forties and fifties on "race records," companies geared to a predominently black audience (such as Atlantic Records at that time). His vocal style represented a fusion of black Nshouting" blues singing and white southern country music - a sophisticated version of rockabilly. Example 1 a) "Money Honey" from History of Rhythm and Blues (1953) Side I Band 4, recorded by Clyde McPhatter and the Drifters. This song follows the typical forties and fifties rhythm and blues format~ a "shouting~ lead singer accompanied by a "honking" tenor saxophone, electric guitar, piano, bass, and drums. usually one stanza was a saxophone solo, which also would act as a responsorial voice to the lead singer in the other stanzas. (Rhythm and blues singers usually dressed in a gaud;: style, featured acrobats among the instrumentalists, and used a lot of greasy cream in their hair.) compare to - b) "Money Honey" from Elvis' '56 Sessions, Side 1 Band 3. Notice Elvis' famous "hiccup" and that the saxophone is omitted. The electric guitar provides the responsorial voice and instrumental solo. Doc. 0478B/Page 7 81 Example 2 a) "Shake, Rattle and Roll" from History of Rhythm and Blues (1954 - Side 1, Band 6) recorded by Joe Turner (a foremost exponent of the shouting Kansas City blues tradit.i.onso popular in l1emphis) . Notice the "back beat" - heavy accent on the 2nd and 4th beats of the measure, reinforced by a heavy ostinato bassline a la boogie woogie. The words express "machismo" - women exist to be used by and to please men. Women rock singers in the fifties and early sixties were almost non-existent. - compare to - b) "Shake, Rattle and Roll" from Elvis' '56 Sessions (Side 2, Band 5). Notice the absence of saxophones, two guitar stanza solos and that his diction is clearer. This song became a big hit in 1954 when recorded by Bill Haley and the Comets - a white group. 4. Other rhythln and blues styles Example 3 "Sh-Boom" from History of R. and B. (1954 - Side 1, Band 5) . Recorded by'the Chords, this became a big hit when recorded by the Crewcuts (obviously a white group). This song, which is similar to many "silly" rock and roll songs of the later fifties, contains gimmicks such as scat singing, ~onsensical words (doo-wop, etc.), and extremes of vocal range, a basso profundo (deep bass) answered by a high tenor. Example 4 "Close Your Eyes" from History of R. and B. (1955 - Side 2, Band 5) sung by The Five Keys and repopularized by Peaches and Herb in 1970. This song also contains gimmicks - a tenor answered by a male falsetto (highest part of the male voice above the natural range) imitating a girl, whispering', breathing (exhale on "Take a deep breath"), and talking (declaration of love). Example 5 Play Elvis Presley's "Hound Dog" from Presley 56 Sessions, (Side 2, Band 6) . Mention the aggressive performance style, blues progression, heavy bass guitar, and polyrhythmic clapping effects of hls backup chorus. r 82 I i POINTS FOR FURTHER DISCUSSION Why was it possible Ear Elvis to achieve the fame that rhythm and blues groups couldn't? - racial prejudice and conservatism of the Eisenhower years. - he represented the revolt of white teenagers and expressed their innermost Eantasie~ 0& aggression, sex, excitement, acceptance and status.
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