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A Short History of Pop ‘Pop’ Is Short for Popular Music
Read the text. A short history of pop ‘Pop’ is short for popular music. There are different styles of pop music, but they all appeal to the general public. But when did ‘modern’ pop music begin? There were two significant moments. First of all Leo Fender invented the electric guitar in 1950. Then, in 1954, Sony introduced the transistor radio and after that, music was accessible to people in their homes and cars. In 1954 Elvis Presley released That’s All Right. He fused country music with black rhythm and blues to create rock and roll. At that time this was an innovation, and Elvis, who was young, attractive and exciting, became the first teen idol and made pop music a youth culture. The 1960s was the decade of The Beatles, who dominated pop music from 1961 to 1970 with a new folk-rock sound. The Beatles were the first band to play in a stadium: Shea Stadium in New York in 1965. In June 1969 they had their seventeenth number one hit – two more than Elvis. The 60s also saw the first outdoor music festivals and popular music began to have a social and political message, for example, Bob Dylan. This was also the beginning of Motown and soul music with artists like Ray Charles, The Supremes and Marvin Gaye. Think English Elementary • Unit 9 p.107 © Oxford University Press PHOTOCOPIABLE Next came the 1970s and several new genres of music appeared, like reggae (Bob Marley), glam rock (David Bowie), punk (the Sex Pistols) and heavy metal (Iron Maiden). -
1 POPULAR MUSIC in the MERCER ERA, 1910-1970 Building Bridges
1 POPULAR MUSIC IN THE MERCER ERA, 1910-1970 Building Bridges: Hank Williams and the Hit Parade (Draft version submitted November 2010) By Dr. Steve Goodson University of West Georgia Carrollton, GA Hank Williams is widely regarded as the archetypal country music singer, songwriter, and performer. Phenomenally successful during his brief lifetime, he has become -- in the nearly six decades since his death -- something of a national cultural institution. He appeared on a U.S. postage stamp in 1993, he was the focus of a Smithsonian Institution symposium in 1999 – the first country artist to be so honored – and he was the subject of a documentary featured on the PBS American Masters series in 2004. When Mercury Records released a 10-CD compilation of his work – The Complete Hank Williams – the groundbreaking set received substantial reviews from a remarkable array of prestigious mainstream publications, including The New York Times, The Wall Street Journal, the Village Voice, and the Times and the Guardian of London. Fans – most of them too young to remember Williams personally, continue to trek to his grave in his hometown of Montgomery, Alabama, often visiting as well as the city's Hank Williams museum and the nearby Williams statue. Artists continue to record his songs, not only in the country field, but in a variety of genres – Norah Jones and Van Morrison being recent examples. The enduring popularity of and ever-growing esteem – even reverence – for this star- crossed performer are remarkable given that his recording career lasted but six years, and that he did not live to see thirty years of age. -
'And I Swear...' – Profanity in Pop Music Lyrics on the American Billboard Charts 2009-2018 and the Effect on Youtube Popularity
INTERNATIONAL JOURNAL OF SCIENTIFIC & TECHNOLOGY RESEARCH VOLUME 9, ISSUE 02, FEBRUARY 2020 ISSN 2277-8616 'And I Swear...' – Profanity In Pop Music Lyrics On The American Billboard Charts 2009-2018 And The Effect On Youtube Popularity Martin James Moloney, Hanifah Mutiara Sylva Abstract: The Billboard Chart tracks the sales and popularity of popular music in the United States of America. Due to the cross-cultural appeal of the music, the Billboard Chart is the de facto international chart. A concern among cultural commentators was the prevalence of swearing in songs by artists who were previously regarded as suitable content for the youth or ‗pop‘ market. The researchers studied songs on the Billboard Top 10 from 2009 to 2018 and checked each song for profanities. The study found that ‗pop‘, a sub-genre of ‗popular music‘ did contain profanities; the most profane genre, ‗Hip-hop/Rap‘ accounted for 76% of swearing over the ten-year period. A relationship between amount of profanity and YouTube popularity was moderately supported. The researchers recommended adapting a scale used by the British television regulator Ofcom to measure the gravity of swearing per song. Index Terms: Billboard charts, popularity, profanity, Soundcloud, swearing, YouTube. —————————— —————————— 1 INTRODUCTION Ipsos Mori [7] the regulator of British television said that profane language fell into two main categories: (a) general 1.1 The American Billboard Charts and ‘Hot 100’ swear words and those with clear links to body parts, sexual The Billboard Chart of popular music was first created in 1936 references, and offensive gestures; and (b) specifically to archive the details of sales of phonographic records in the discriminatory language, whether directed at older people, United States [1]. -
Music in the Digital Age: Musicians and Fans Around the World “Come Together” on the Net
Music in the Digital Age: Musicians and Fans Around the World “Come Together” on the Net Abhijit Sen Ph.D Associate Professor Department of Mass Communications Winston-Salem State University Winston-Salem, North Carolina U.S.A. Phone: (336) 750-2434 (o) (336) 722-5320 (h) e-mail: [email protected] Address: 3841, Tangle Lane Winston-Salem, NC. 27106 U.S.A. Bio: Currently an Associate Professor in the Department of Mass Communications, Winston-Salem State University. Research on international communications and semiotics have been published in Media Asia, Journal of Development Communication, Parabaas, Proteus and Acta Semiotica Fennica. Teach courses in international communications and media analysis. Keywords: music/ digital technology/ digital music production/music downloading/ musicians on the Internet/ music fans/ music software Abstract The convergence of music production, creation, distribution, exhibition and presentation enabled by the digital communications technology has swept through and shaken the music industry as never before. With a huge push from the digital technology, music is zipping around the world at the speed of light bringing musicians, fans and cultures together. Digital technology has played a major role in making different types of music accessible to fans, listeners, music lovers and downloaders all over the world. The world of music production, consumption and distribution has changed, and the shift is placing the power back into the hands of the artists and fans. There are now solutions available for artists to distribute their music directly to the public while staying in total control of all the ownership, rights, creative process, pricing, release dates and more. -
Early 20Th Century Music Part 2 Test #10 Name: 1. Rhythm Makes People Want to Ta
Early 20th Century Music Part 2 Test #10 Name:_______________________________________________ Each question is worth up to 4 points each (70%). The first essay is worth up to 30pts (30%). Your first and last name is 10pts (10%). 1. Rhythm makes people want to tap their feet, get up and dance, or sway back and forth because of what? 2. Ragtime composers started using syncopation in an effort to copy what popular turn-of-the-century American music groups? 3. Ragtime became Jazz because of a relaxing of the rhythm we now call what? 4. What country fused all of the rhythmic elements from Africa, Europe, and Latin America into the form “son”? 5. Composers like Arnold Schoenberg abandoned traditional western music techniques in favor of what? 6. “Appalachian Spring”, commissioned by the famous choreographer and dancer Martha Graham, was written by what great American composer? 7. What American Broadway composer elevated popular music by combining popular music sensibilities with classical music techniques? 8. Which American composer legitimized Jazz as an American art form by combining it with classical music? 9. Ragtime, Blues, Bluegrass, Country music, and Southern Gospel are all examples of what American form of music? 10. Who collected and recorded songs from southwestern Virginia, wrote their own songs, and became “the first family of country music”? 11. What native of Meridian, Mississippi is called the “The Singing Brakeman”, “The Blue Yodeler”, and the “Father of Country Music”? 12. Who was nicknamed, “the Father of Texas Blues” with songs like “Black Snake Moan” and “Easy Rider Blues”? 13. Who was nicknamed, “the Father of Delta Blues” thanks to songs like “Pony Blues” and “Screamin’ and Hollerin’ The Blues”? 14. -
Chapter Outline
CHAPTER THIRTEEN: THE 1980s: THE DIGITAL TECHNOLOGY, MTV, AND THE POPULAR MAINSTREAM Chapter Outline I. The 1980s and the Music Business A. 1979 saw an 11 percent drop in annual sales nationwide. B. Profits from the sale of recorded music hit rock bottom in 1982 ($4.6 billion), down half a billion from the peak year of 1978 ($5.1 billion). C. Record companies relied on a small number of multiplatinum artists to create profits in the 1980s. D. The recovery of the recording industry was due to the success of a few recordings by superstar musicians—Michael Jackson, Madonna, Prince, Bruce Springsteen, Whitney Houston, Phil Collins, Janet Jackson, and others. E. The crash of the early 1980s 1. Onset of a national recession 2. Competition from new forms of entertainment 3. The decline of disco 4. Illegal copying (“pirating”) of commercial recordings by consumers with cassette tape decks a) In 1984, sales of prerecorded cassettes surpassed those of vinyl discs. CHAPTER THIRTEEN: THE 1980s: THE DIGITAL TECHNOLOGY, MTV, AND THE POPULAR MAINSTREAM F. New technologies of the 1980s 1. Digital sound recording and five-inch compact discs (CDs) 2. The first CDs went on sale in 1983, and by 1988, sales of CDs surpassed those of vinyl discs. 3. New devices for producing and manipulating sound: a) Drum machines b) Sequencers c) Samplers d) MIDI (Musical Instrument Digital Interface) G. Music Television (MTV) 1. Began broadcasting in 1981 2. Changed the way the music industry operated, rapidly becoming the preferred method for launching a new act or promoting a superstar’s latest release. -
U.S. Music Mid-Year Report 2019
NIELSEN MUSIC MID-YEAR REPORT U.S. 2019 1 INTRODUCTION Welcome to the 2019 Nielsen Music Mid-Year Report, which provides an exclusive glimpse at the music industry’s leading trends, data and insights from the past six months. The first half of 2019 saw a six-month record of over 507 billion on-demand streams, an exciting new milestone led by singles and albums by Ariana Grande, Billie Eilish, Halsey, Khalid, BTS, Lil Nas X and Bad Bunny that span a wide array of genres, moods and even languages. LPs continue to show strength and lend resilience to physical albums, as independent retail events like Record Store Day continue to bring music fans in droves. This year’s celebration led to the highest non-holiday sales total at independent retail since 2005, and extended vinyl’s hot streak as the format increases 19% year-to-date. All data cited in this story is compiled by Nielsen Music. In this report, Nielsen is using a 24-week period for this year, running from Jan. 4 through June 20; while last year’s corresponding period ran THE FIRST HALF from Dec. 29, 2017, through June 14, 2018. Also, due to the fact that at mid-year 2018 Nielsen adapted different weighting for album OF 2019 SAW A consumption units for paid-audio streams (1,250 streams per unit), ad-supported streams and video streams (3,750 streams per unit), SIX-MONTH last year’s album consumption unit numbers were updated to reflect the current ratios for this story, in order to present an RECORD OF OVER apples-to-apples comparison. -
Analyzing Genre in Post-Millennial Popular Music
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Analyzing Genre in Post-Millennial Popular Music Thomas Johnson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2884 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ANALYZING GENRE IN POST-MILLENNIAL POPULAR MUSIC by THOMAS JOHNSON A dissertation submitted to the Graduate Faculty in Music in partial Fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 THOMAS JOHNSON All rights reserved ii Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson This manuscript has been read and accepted for the Graduate Faculty in music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ___________________ ____________________________________ Date Eliot Bates Chair of Examining Committee ___________________ ____________________________________ Date Norman Carey Executive Officer Supervisory Committee: Mark Spicer, advisor Chadwick Jenkins, first reader Eliot Bates Eric Drott THE CITY UNIVERSITY OF NEW YORK iii Abstract Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson Advisor: Mark Spicer This dissertation approaches the broad concept of musical classification by asking a simple if ill-defined question: “what is genre in post-millennial popular music?” Alternatively covert or conspicuous, the issue of genre infects music, writings, and discussions of many stripes, and has become especially relevant with the rise of ubiquitous access to a huge range of musics since the fin du millénaire. -
Popular Music Repertoire
Popular Music Repertoire ABBA "Mamma Mia" "I Have A Dream" "Dancing Queen" Abreu “Tico-Tico” Samba Albeniz “Tango in D” Mike Altman and Johnny “Suicide is Painless” from M*A*S*H Mandel Anderson “Blue Tango” Priscilla Ann “Dream” Harold Arlen “It’s Only a Paper Moon” “Somewhere Over the Rainbow” Asher and Wilson “God Only Knows” Babyface, Real & “End of the Road” Simmons Bandolim “Noites Cariocas” John Barry “I Had a Farm In Africa” from Out of Africa Barry & Gibb “Woman in Love” The Beatles “All You Need Is Love” “And I Love Her” “Eleanor Rigby” “Here, There, and Everywhere” “I Saw Her Standing There” “If I Fell” “In My Life” “Michelle” “No Reply” “She’s Leaving Home” “Yesterday” The Bee Gees “How Deep Is Your Love” “Too Much Heaven” Notes an original CBSQ arrangement Cherry Blossom String Quartet [email protected] www.cherryblossomstrings.com Updated September 2010 Irving Berlin “Alexander’s Ragtime Band” Leonard Bernstein “One Hand, One Heart” from West Side Story Jerry Block “Sunrise, Sunset” from Fiddler on the Roof Bunessan “Morning Has Broken” Sammy Cahn “Time After Time” Mariah Carey “Hero” Hoagy Carmichael “Étoile d’Amour” (Stardust) The Carpenters “We’ve Only Just Begun” “Yesterday Once More” Frank Churchill “Someday My Prince Will Come” from Snow White and the Seven Dwarfs Ed Cobb “Tainted Love” Arthur Cohen “Hallelujah” Cold Play “Clocks” “In My Place” “Trouble” “Yellow” “Viva La Vida” Bill Conti “North and South” from the T.V. Mini Series Crewe and Goudio “Can’t Take My Eyes Off of You” David and Bacharach “Wishin’ -
On the Historical and Future Role of the Music Producer 1
ON THE HISTORICAL AND FUTURE ROLE OF THE MUSIC PRODUCER 1 On the Historical and Future Role of the Music Producer Tyler Harrison A Senior Thesis submitted in partial fulfillment of the requirements for graduation in the Honors Program Liberty University Spring 2021 ON THE HISTORICAL AND FUTURE ROLE OF THE MUSIC PRODUCER 2 Acceptance of Senior Honors Thesis This Senior Honors Thesis is accepted in partial fulfillment of the requirements for graduation from the Honors Program of Liberty University. Nathan Zwald, M.Ed. Thesis Chair Hanna Byrd, D.W.S. Committee Member James H. Nutter, D.A. Honors Director Date ON THE HISTORICAL AND FUTURE ROLE OF THE MUSIC PRODUCER 3 Abstract The research completed in this thesis is designed to review the historical role of the music producer and track its evolution into the modern era. Focus on the history of the producer will include formal research from the time and a review of individuals who pioneered significant change in the industry. The thesis will then explore the role of the contemporary record producer and raise questions about the impact of modern technology and practice. The creative aspect of the thesis will be completed by fulfilling the role of producer for a local artist: coordinating, engineering, mixing, and ultimately producing a four-track Extended Play (EP) project that will include the final professional audio project and approximately ten pages of production documentation organized as a separate document. ON THE HISTORICAL AND FUTURE ROLE OF THE MUSIC PRODUCER 4 On the Historical and Future Role of the Music Producer The musical world is characterized by the presence of the artist. -
Popular Music Conservatory
POPULAR MUSIC CONSERVATORY YEAR FALL SPRING Year 1 Primary Instrument (Junior) Primary Instrument (Junior) Junior Songwriting Junior Songwriting Junior Rock Ensemble Junior Rock Ensemble Year 2 Primary Instrument (Junior) Primary Instruments (Junior) Junior Recording Junior Recording Junior Rock Ensemble Junior Rock Ensemble Year 3 Music Theory I Music Theory I Lead Sheets & Transcriptions Lead Sheets & Transcriptions Primary Instrument (Advanced) Primary Instrument (Advanced) Secondary Instrument (Beginning) Secondary Instrument (Beginning) Rock Ensemble Rock Ensemble Year 4 Music Theory II Music Theory II Recording I Recording I Beginning Songwriting Beginning Songwriting Arranging I Arranging I Primary Instrument (Advanced) Primary Instrument (Advanced) Secondary Instrument (Beginning) Secondary Instrument (Beginning) Rock Ensemble Rock Ensemble Year 5 Music Theory III Music Theory III Recording II Recording II Advanced Songwriting Advanced Songwriting Arranging II Arranging II Primary Instrument (Advanced) Primary Instrument (Advanced) Secondary Instrument (Beginning) Secondary Instrument (Beginning) Rock Ensemble Rock Ensemble Year 6 Music Theory IV Music Theory IV Advanced Recording Advanced Recording Film & Game Scoring Film & Game Scoring Music Business & Media Music Business & Media Primary Instrument (Advanced) Primary Instrument (Advanced) Secondary Instrument (Beginning) Secondary Instrument (Beginning) Rock Ensemble Rock Ensemble POPULAR MUSIC CONSERVATORY 9th-12th Grade ADVANCED SONGWRITING Advanced Songwriting is a course designed to continue growth, exploration, and discovery in a student’s unique sound and songwriting style through weekly lyric exercises and the analysis of various pieces in the popular music industry. Students will dissect various iconic songs, rhyme scheme, chord progressions, and compose using same techniques. Students will also begin to compose using various instruments and textures, compose for specific styles and artists, and write songs based on specific prompts. -
Themes and Streams of American Popular Music
CHAPTER ONE: THEMES AND STREAMS OF AMERICAN POPULAR MUSIC Chapter Outline 1. Introductory Perspectives A. Goals 1. Think creatively and critically about popular music 2. Listen to popular music and learn something about its history and the people and institutions behind it 3. Cover a wide range of music from the nineteenth century to the 1990s and beyond B. Popular music 1. Created with commercial success in mind 2. Popularity measured in numbers (e.g., how many albums sold, how many Number One hits) 3. Can be compared with styles that differ in intent as well as musical result a) Popular—strives to be commercially successful b) Classical—art for art’s sake c) Folk—created anonymously and passed down orally from generation to generation without the thought of commercial gain CHAPTER ONE: THEMES AND STREAMS OF AMERICAN POPULAR MUSIC d) Definition is problematic because many pieces of music cross the boundaries of pop, classical, and folk. (1) “Garage band” tradition of rock music—more similar to folk music than popular music (2) Difficult to separate the “artistic” from the “popular” in music such as a piano rag by Scott Joplin or the Beatles’ album Sgt. Pepper’s Lonely Hearts Club Band C. In broad terms, popular music 1. is mass-produced and disseminated via the mass media, 2. at various times has been listened to by large numbers of Americans, and 3. typically draws on a variety of musical traditions. D. Within the landscape of popular music, various styles, audiences, and institutions interact in complex ways. This landscape is always in motion, always evolving.