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MUS1014 Midterm Review Review Terms Improvisation Parliament Judith Butler Jazz Drumming Basic Verse Chorus with Bridge Musicology, Music Theory, ABABCB Ethnomusicology Spanish Guitar Hook Prince & The Revolution Idiomatic Hook Saturation Billy Idol Non-idiomatic Hypertext The Smiths Santana Base/Superstructure Model Hedwig and the Angry Inch Joni Mitchell Culture Industry Ensembles SRC Walter Benjamin Synthesizer Tin Pan Alley Post-modern world Robert Moog Tin Pan Alley Song Form AABA Genre DAW Digital Audio Workstations Mirror Form Ramblin’ Sly and the Family Stone Basic Verse Chorus ABAB Gender Performativity Erykah Badu George Clinton Yasutaka Nakata Laura Mulvey Funkadelic Kyary Pamyu Pamyu MIDI Wu Tang Clan Male Gaze Essay Questions (Will Choose Two) 1. Discuss the development of the synthesizer. How did it change music production? Use specific musical examples to back up your answer. 2. How does improvisation work? Discuss the difference between non-idiomatic and idiomatic improvisation. Are these terms useful? Use specific musical examples to back up your answer. 3. Discuss Judith Butler and their work on gender performativity. How did artists in the 1980s subvert our expectations of gender? 4. What is a Digital Audio Workstation? How does it work? What is MIDI? How have technological changes in musical production altered recorded and performed music? 5. Tell me about Carlos Santana and the musical influences of his band. Where did their sound come from? 6. Explain hypertext by using specific musical examples or examples from texts 7. How does Joni Mitchell use songwriting to paint a virtual canvas? Use specific examples from her work. Why does she see herself as a painter? 1 MUS1014 Midterm Review 8. Discuss the similarities and differences between Funkadelic and Parliament, Dr. Dre and Wu-Tang. How do they embody street culture? How do they represent resistance to the status-quo? Song List Midterm Song List* Joni Mitchell: California 1966 Elvis Presley: If I can Dream 1968 Santana: Soul Sacrifice 1969 Bob Seger: Ramblin’ Gamblin’ Man 1969 Led Zeppelin: Hey Hey What Can I Do? 1970 America: Ventura Highway 1972 Allman Brothers: Ramblin’ Man 1973 Funkadelic: Cosmic Slop 1973 Boston: Hitch a Ride 1976 Billy Idol: Eyes Without a Face 1984 Pet Shop Boys: West End Girls 1984 The Smiths: Heaven Knows I’m Miserable Now 1984 Prince: Kiss 1985 Wu-Tang Clan: C.R.E.A.M. 1993 Hedwig and the Angry Inch: Origin of Love 1998 Erykah Badu: Back in the Day 2003 Yeah Yeah Yeahs: Maps 2003 Kyary Pamyu Pamyu: Candy Candy 2012 Churches: Clearest Blue 2015 Yasutaka Nakata (feat. Charli XCX and Kyary Pamyu Pamyu): Crazy Crazy 2017 Corey Henry: IMPROV 2020 *Must identify artist, song, rough date (within 20 years) 2 .

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I Can Hear Music
5 I CAN HEAR MUSIC 1969–1970 “Aquarius,” “Let the Sunshine In” » The 5th Dimension “Crimson and Clover” » Tommy James and the Shondells “Get Back,” “Come Together” » The Beatles “Honky Tonk Women” » Rolling Stones “Everyday People” » Sly and the Family Stone “Proud Mary,” “Born on the Bayou,” “Bad Moon Rising,” “Green River,” “Traveling Band” » Creedence Clearwater Revival “In-a-Gadda-Da-Vida” » Iron Butterfly “Mama Told Me Not to Come” » Three Dog Night “All Right Now” » Free “Evil Ways” » Santanaproof “Ride Captain Ride” » Blues Image Songs! The entire Gainesville music scene was built around songs: Top Forty songs on the radio, songs on albums, original songs performed on stage by bands and other musical ensembles. The late sixties was a golden age of rock and pop music and the rise of the rock band as a musical entity. As the counterculture marched for equal rights and against the war in Vietnam, a sonic revolution was occurring in the recording studio and on the concert stage. New sounds were being created through multitrack recording techniques, and record producers such as Phil Spector and George Martin became integral parts of the creative process. Musicians expanded their sonic palette by experimenting with the sounds of sitar, and through sound-modifying electronic ef- fects such as the wah-wah pedal, fuzz tone, and the Echoplex tape-de- lay unit, as well as a variety of new electronic keyboard instruments and synthesizers. The sound of every musical instrument contributed toward the overall sound of a performance or recording, and bands were begin- ning to expand beyond the core of drums, bass, and a couple guitars.
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Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
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Top 100 Hits of 1968 Baby the Rain Must Fall— Glen Yarbrough 1
Deveraux — Music 67 to 70 1965 Top 100 Hits of 1968 Baby the Rain Must Fall— Glen Yarbrough 1. Hey Jude, The Beatles Top 100 Hits of 1967 3. Honey, Bobby Goldsboro 1. To Sir With Love, Lulu 4. (Sittin' On) The Dock of the Bay, Otis Redding 2. The Letter, The Box Tops 6. Sunshine of Your Love, Cream 3. Ode to Billie Joe, Bobby Gentry 7. This Guy's In Love With You, Herb Alpert & The Tijuana Brass 5. I'm a Believer, The Monkees 8. The Good, The Bad and the Ugly, Hugo Montenegro 6. Light My Fire, The Doors 9. Mrs. Robinson, Simon and Garfunkel 9. Groovin', The Young Rascals 11. Harper Valley P.T.A., Jeannie C. Riley 10. Can't Take My Eyes Off You, Frankie Valli 12. Little Green Apples, O.C. Smith 13. Respect, Aretha Franklin 13. Mony Mony, Tommy James and The Shondells 24. Ruby Tuesday, The Rolling Stones 14. Hello, I Love You, The Doors 25. It Must Be Him, Vicki Carr 20. Dance to the Music, Sly and The Family Stone 30. All You Need Is Love, The Beatles 25. Judy In Disguise (With Glasses), John Fred & His 31. Release Me (And Let Me Love Again), Engelbert Humperdinck Playboy Band 33. Somebody to Love, Jefferson Airplane 27. Love Child, Diana Ross and The Supremes 35. Brown Eyed Girl , Van Morrison 28. Angel of the Morning, Merrilee Rush 36. Jimmy Mack, Martha and The Vandellas 29. The Ballad of Bonnie & Clyde, Georgie Fame 37. I Got Rhythm, The Happenings 30.
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Media Advisory**
**MEDIA ADVISORY** GRAND PERFORMANCES KICKS-OFF SUMMER SERIES OF FREE CONCERTS WITH TRIBUTE TO SLY STONE, WHO TURNS 75 TODAY The concert, Higher! The Psychedelic Soul & Genius of Sly and The Family Stone (1966-1983), will take place June 1st in downtown L.A. WHAT: Grand Performances will launch its Summer Series of free concerts with a grand celebration of the ubiquitous Sly Stone, his musical cohorts and the funky sounds of liberation with the tribute performance, Higher! The Psychedelic Soul & Genius of Sly and The Family Stone (1966-1983) on Friday, June 1, 2018. Exercise your freedom to be Fresh, to Dance to the Music, and to Stand by joining Grand Performances on a trip through some of the most magical and influential music moments in history. This show is exclusively produced for Grand Performances by Dexter Story, Music Director, and Rocio Wyldeflower Contreras, Novena Carmel & Dexter Story. The critically acclaimed Nelson George will host the show. Sly Stone, who turns 75 today, pioneered the "psychedelic soul" sound that was realized by his band, Sly and the Family Stone, the first major integrated (race & gender) American rock group. Sly’s groundbreaking and revolutionary lyrics cemented the band's legacy as legitimate with their 1993 induction into the Rock and Roll Hall of Fame. From the Hall of Fame: THEY TOOK US HIGHER. Sly and the Family Stone were a brief glimpse of utopia. Their songs were more than danceable hits—they were a force for positive change. When Sly and the Family Stone played, we all got along. We were part of the family.
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David Dorfman Dance Grooves to Sly and the Family Stone - News from Southeastern Connecticut
4/4/2017 The Day - David Dorfman Dance grooves to Sly and the Family Stone - News from southeastern Connecticut David Dorfman Dance grooves to Sly and the Family Stone "Prophets of Funk - Dance to the Music" leaps onto the stage Frida at Connecticut College. Pulished Feruar 03. 2011 2:03AM | Updated Feruar 03. 2011 9:17AM Kristina Dorse (mailto:[email protected]) Da Arts ditor Dancer David Dorfman says, simply, "I've always been the biggest, biggest fan of Sly and the Family Stone." He has a vivid memory of working out with a pal in high school - Dorfman was on the baseball and football teams, his friend was a basketball player - and they put on an 8-track (yes, an 8-track) of Sly and the Family Stone. "We played it over and over again. This became kind of like an anthem," he says. Dorfman was addicted to "Soul Train" and says, "Everything about the culture of soul and funk appealed to me." And then, during his first week as a freshman at Washington University at St. Louis, the school hosted a concert by Sly and the Family Stone. Dorfman, now an acclaimed choreographer and head of the David Dorfman Dance troupe, is returning to Sly with his new work, "Prophets of Funk - Dance to the Music," which the group will perform Friday at Connecticut College's Palmer Auditorium. Dorfman, a 1981 Conn grad, is now the college's dance department chair. In 2007, the New York-based David Dorfman Dance was named permanent company-in-residence at Connecticut College.
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The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 16 EVERYDAY PEOPLE, Sly and the Family Stone Written and produced by Sly Stone Epic 10407 1968 Billboard: #1 (4 weeks) After two hundred takes failed to get an acceptable "White Rabbit" from a pre-Jefferson Airplane group featuring Grace Slick, disc jockey/ record producer Sylvester Stewart vowed to forget that acid-rock shit. So he renamed himself Sly Stone and formed his own band to play "the first fusion of psychedelia and rhythm and blues." In the Family Stone, men and women, black and white, played and sang as equals and each member's voice matched his or her instrument (i.e., bassist Larry Graham both played and sang bass. while Cynthia Robinson had the same brassy range and timbre as her trumpet). More startling, in Sly's songs rock and soul -- that is, black and white post -- Presley pop-intermingled till you couldn't find where one began and the other left off. The nursery rhyme simplicity and seductive tunefulness of "Everyday People." their third single and first Number One hit. make it almost too sweet to be true, and its fusion of rock and soul elements reflects an integrated symmetry that's still breathtaking. "Everyday People" proposes something even more radical than "different strokes for different folks" (a phrase it placed in the permanent American vernacular). The song argues that the healing power of music even encompasses curing rifts among races and classes. That was a corny/naive idea even in 1968, yet the record remains convincing because it so delightedly practices everything it preaches, You could spend a lifetime fathoming what gives Sly the courage to declare (at a time when the unity of the civil rights movement was disintegrating into a dagger's length truce), "We got to live together!" Even if the record's final boast, "I AM everyday people" means only that the "we " who had to live together were the antagonistic sides of Sly's own personality, these are words to live by.
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Sly and the Family Stone
performers sly and the family stone Sly Stone was very cool. Shirtless, vested, the languorous family. But he loved the limousines and the helpers.” look, one eye cocked, mouth half-open as if caught laugh Sly spent days without sleep. Concerts were an inconve ing at his own joke. Freddie, Rosie, Gregg, Larry, Cynthia nience, Journalist Roy Carr witnessed one tour: and Jerry were the Family, and we were the children. “Sly was locked in a hotel room to insure making the The bikers, the stoners, a butcher, a banker, the long gig, bpt come show time he wasn’t there. Someone in the haired hippies and the Afro-ed blacks, we were all entourage confessed to seeing him leave through the back Everyday People. Sly Stone alone created that mix. And door with passport in hand. After a mad rush to the air when he raised two long fingers skyward at Woodstock, port we found Sly at customs. ‘I’m off to Amsterdam to we went wherever he wanted to take us — literally, go shopping,’ he says. ‘Tell the audience to.-wait spiritually, eventually. Sly showed his scars with the torturous 1971 album, Sly & The Family Stone’s music was immensely liberat There’s a R iot G ain’ Dm. Gritty and sarcastic, it sound ing. A tight, riotous funk, it was precisely A Whole New ed like a record at the wrong speed. And still he drew Thing. And they were a beautiful sight: rock’s first integrat blood. “Sly created a moment of lucidity in the midst of ed band, black, white, women, men.
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April-June 2017 PRRAC.P65
April-June 2017 Volume 26: Number 2 Book Review The Color of Law: A Forgotten History of How Our Government Segregated America, by Richard Rothstein Brian Knudsen When Frank Stevenson came to other stories to portray the immense holds that this governmental promo- work in Richmond, California during costs and profound consequences of de tion of housing segregation—occurring World War II, he found that little ap- jure segregation on African Ameri- at federal, state and local levels—rep- petite existed for residential racial in- cans. De jure segregation, defined as resents a continuing violation of the tegration. The white residents of rural segregation by racially explicit law and U.S. Constitution’s Fifth, Thirteenth Milpitas,California got wind in 1953 policy, is a complex system con- and Fourteenth Amendments. Finally, that the Ford Motor Company plant structed over decades to perpetuate— Rothstein agrees with past Supreme employing Stevenson and 250 other and in some instances to initiate—the Court precedent (e.g. Milliken v. Brad- African Americans would be relocat- spatial separation of whites and Blacks. ley, Parents Involved in Community ing to their town, and they quickly The Color of Law argues that this type Schools v. Seattle School District, etc.) snapped into action. In a scene that of residential segregation over the that the enactment of legal constitu- played out in many locales across the course of the twentieth century defined tional remedies requires showing that U.S. during the last century, the citi- where whites and Blacks could live and segregation had governmental origins. zens of Milpitas incorporated their city denied African Americans access to However, whereas Court decisions and passed an emergency exclusionary middle-class neighborhoods, with ef- found no evidence of such state in- zoning ordinance banning apartment fects continuing to the present.
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The Last Bedraggled Fan Sloshed out of Max Yasgur's Muddy Pasture More Than 25 Years Ago. That's When the Debate Began About Woodstock's Historical Significance
The last bedraggled fan sloshed out of Max Yasgur's muddy pasture more than 25 years ago. That's when the debate began about Woodstock's historical significance. True believers still call Woodstock the capstone of an era devoted to human advancement. Cynics say it was a fitting, ridiculous end to an era of naivete. Then there are those who say it was just a hell of a party. The Woodstock Music and Art Fair in 1969 drew more than 450,000 people to a pasture in Sullivan County. For four days, the site became a countercultural mini-nation in which minds were open, drugs were all but legal and love was "free". The music began Friday afternoon at 5:07pm August 15 and continued until mid-morning Monday August 18. The festival closed the New York State Thruway and created one of the nation's worst traffic jams. It also inspired a slew of local and state laws to ensure that nothing like it would ever happen again. Woodstock, like only a handful of historical events, has become part of the cultural lexicon. As Watergate is the codeword for a national crisis of confidence and Waterloo stands for ignominious defeat, Woodstock has become an instant adjective denoting youthful hedonism and 60's excess. "What we had here was a once-in-a-lifetime occurrence," said Bethel town historian Bert Feldman. "Dickens said it first: 'It was the best of times. It was the worst of times'. It's an amalgam that will never be reproduced again." Gathered that weekend in 1969 were liars and lovers, prophets and profiteers.
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David Dorfman Dance/The Family Stone Performs at on Aug 11
4/4/2017 David Dorfman Choose your city Don't miss a thing: sign up to get the latest from Time Out. Subscribe to Time Out New York Magazine Painting Experts Find Pre-Screened Local Paint Professionals. See Ratings and Reviews! HomeAdvisor Tickets & Offers Things To Do Restaurants Bars Movies Theater Art Music Shopping & Style Blog Nightlife Attractions Events & Festivals Museums Kids Comedy Dance LGBT Sex & Dating Books City Guide Neighborhoods Hotels Promotions What When Where Things to do or see in New York All dates All areas Search David Dorfman The Family Stone joins the choreographer for Prophets of Funk. Custom By Gia Kourlas Fri Jul 29 2011 Postcards $6.69 Shop now! up to 50% off FUNK OFF Dancers find their inner Sly. Photograph: Adam Campos More than ever, choreographers resort to recorded music, but for a new collaboration brewing at Lincoln Center Out of Doors, David Dorfman has scored a major coup. Prophets of Funk, which is set to the music of Sly and the Family Stone, will feature the band (minus the reclusive Sly Stone) in a free performance on August 11 at Damrosch Park Bandshell. Still, for the work, which explores the prophetic possibilities of music and dance, Dorfman brings it all back to Stone: Funk, for the choreographer, is about keeping hope alive. Is this a new version of something that you've been touring? It's definitely new, and we're calling it a premiere because it will be the first time that we dance with the band playing live. We're calling this a "concert edition." Not only is the band playing live, but at the end of the piece, they will play a halfhour set of their incredible hits that have not been featured in the dance.
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Brian Eno • • • His Music and the Vertical Color of Sound
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Woodstock: Community and Legacy
Pedro Jorge Duarte Silva Ramos Woodstock: Community and Legacy Dissertação de Mestrado em Estudos Ingleses e Estudos Americanos, orientada pelo Doutor Stephen Wilson e co-orientada pela Doutora Teresa Tavares, apresentada ao Departamento de Línguas, Literaturas e Culturas da Faculdade de Letras da Universidade de Coimbra 2014 Faculdade de Letras Woodstock: Community and Legacy Ficha Técnica: Tipo de trabalho Dissertação de Mestrado Título Woodstock: Community and Legacy Autor Pedro Jorge Duarte Silva Ramos Orientador Doutor Stephen Daniel Wilson Coorientadora Doutora Maria Teresa de Castro Mourinho Tavares Identificação do Curso 2º Ciclo em Estudos Ingleses e Estudos Americanos Área científica Línguas e Literaturas Estrangeiras Especialidade/Ramo Estudos Americanos Data 2014 Data da realização das provas públicas de defesa 30 de Julho de 2014 Constituição do júri Doutora Jacinta Maria Cunha Rosa Matos Doutora Maria José Florentino Mendes Canelo e Doutor Stephen Daniel Wilson Classificação obtida 18 Valores Agradecimentos Agradeço a todos os meus professores de licenciatura e de mestrado, em especial, à Doutora Maria Teresa de Castro Mourinho Tavares e ao Doutor Stephen Daniel Wilson, meus orientadores de dissertação de mestrado. Uma palavra de agradecimento também para a Doutora Hilary Owen e a Doutora Anastasia Valassopoulos, que orientaram a minha investigação na Universidade de Manchester. Agradeço também aos meus pais, que sempre acreditaram em mim e que me incutiram o gosto pela música da década de sessenta. Abstract The Woodstock Festival in 1969 was, without a doubt, a significant event of the Sixties. The event was envisioned as a music festival, at which youngsters could socialise, and as an important social statement.
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