Seattle Central Community College CAMPUS SEMINAR COURSE Music 116 Rock Music – History and Perspectives
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Seattle Central Community College CAMPUS SEMINAR COURSE Music 116 Rock Music – History and Perspectives Rock and roll—a rhythm and blues showing country influences (or other means of bridging previously-segregated styles and audiences)—was produced, thus, by (1) white performers who covered and, out of habit, country-westernized black material; by (2) black performers like Fats Domino and Sam Cooke whose music already showed pop influences and by (3) people like Little Richard and James Brown, whose music was distant enough from white experience to foster a sense of novelty or rebelliousness. Once it had been created, its characteristics were noted and imitated. Nathan Rubin Rock and Roll: Art and Anti Art Copyright by James Cauter 2011 Course Description: Rock Music—History and Perspectives provides an overview of the styles, musicians, and musical influences that have shaped this art form. Through selected readings and recordings, the course examines rock music as a musical, social, cultural, economic and political force in our society. Course Objectives: . To recognize and distinguish between various styles of Rock music. To view Rock music as an expression of our evolving society. To begin to understand the African‐American experience, with its social, economic, and political challenges. To develop an awareness and understanding of selected composers and representative styles of classical music from the 20th century. To make connections between the musical past and the musical present. To make connections between different styles of music, i.e., Classical and Rock Musics. To broaden musical tastes and tolerances to include many types of music and art. To become familiar with composers and performing artists representing the numerous styles of Rock music. To develop a stronger knowledge and understanding of the basic elements of music. To develop a deeper personal response to artistic expression and the creation of it through more perceptive listening. To develop reading, writing, and listening skills as applied to a new subject area. Critical, reflective thought, clearly communicated through verbal (in the Campus Seminar version only) and written expression. Required Textbook and Listening Materials: Rock and Roll: A Social History Paul Friedlander Westview Press 2nd edition (2006) ISBN: 0813343062 College/University level courses such as Rock Music—History and Perspectives provide students with an insight into the musical characteristics defining a particular style/performing artist/composer/band, and the social and historical context shaping the development if the music itself. Paul Friedlander's Rock and Roll: A Social History provides a clear understanding of the history and scope of this multi‐faceted music and cultural experience. The book features a wealth of information, all presented in an easy‐to‐understand approach. No technical knowledge of music is required to understand the contents of this book. All students enrolled in MUS 116 Rock Music—History and Perspectives are expected to listen to as much music as possible. Our required text will be an effective guide only if the reading is accompanied by extensive listening. To begin this process, you will receive links to the MUSC 116 Listening guide. Each link contains the Listening Examples for our Lesson Assignments. There are numerous music examples representing the diverse stylistic spectrum encountered in our study of this wonderful and complex art form—rock and roll. It serves to assist students in responding to questions about stylistic developments, influences, performing artists, and related characteristics. The examples are organized in the same order as they occur in each of the four Lesson Summary Questions. Overview of Assignments The course is divided into four lessons, each emphasizing different genres and respective performers. Each lesson requires reading, listening, and chapter summary questions to be answered by the student and submitted to the instructor. The summary questions will be either in short‐answer or small essay formats. Questions should be answered in short, concise sentences. No markdowns will be made for grammar, however college‐level writing is expected. Grading Due Date Instructor will announce in your seminar meeting Lesson #1 15 points Lesson #2 15 points Lesson #3 15 points Lesson #4 15 points The One Song Presentation 10 points Seminar Attendance 10 points Participation in all 5 Final Assignment 20 points TOTAL 100 points The table below shows the final grading scale: 100/99 4.0 77=2.2 98=3.9 76=2.1 96=3.8 75=2.0 94=3.7 74=1.9 92=3.6 73=1.8 90=3.5 72=1.7 89=3.4 71=1.6 88=3.3 70=1.5 87=3.2 69=1.4 86=3.1 68=1.3 85=3.0 67=1.2 84=2.9 66=1.1 83=2.8 65=1.0 82=2.7 64=0.9 81=2.6 63=0.8 80=2.5 62=0.7 79=2.4 61=0.6 78=2.3 60=0.5 Lesson 1 Africa to Afro-American, Spiritual, Gospel, Blues, Country, Rhythm and Blues, Classic Rock, The U.S. in the 1950's, Doo-Wop, & the Guitar. Reading: Rock and Roll: A Social History, Chapters 1, 2, 3, 4, 5, & 6 Listening: Listen to examples and obtain additional listening as indicated in the Lesson Summary Questions. Students are encouraged to repeat the listening to the examples as necessary. It would be counterproductive to listen to this great music only once. Lesson 1 - Summary Questions 1. The roots of rock and roll are clearly African-American in origin. Much of the indigenous music from West African cultures features musical characteristics that are prevalent in rock and roll. Listen for some of the following musical characteristics in the recording of Ba-Benjelle Pygmies from Central Sub-Saharan Africa. In the recording do you hear any of the following musical characteristics? a) ostinato a rhythm, phrase, or theme that is repeated over and over b) polyrhythms two or more rhythms that are played or sung simultaneously c) call and response a pattern in which one voice or instrument is answered by nother voice, instrument, or group. d) syncopation accenting of a note(s) or beat(s) at an unexpected time—as between two beats or on a weak beat. e) multiphonic singing or "raw vocal emotionalism" an individual singer who produces more than one pitch simultaneously— much sub-Saharan African singing can be very guttural, vibratoless, described at times as "raw" or "grainy" 2. Listen, compare, and contrast the following spirituals as found on your Listening Study Tape: a) Shout All Over God's Heaven - The Fisk Jubilee Singers b) Roll, Jordan Roll - The Fairfield Four How are they different? What do they seem to have in common? Do you hear any of the musical characteristics listed in the previous question? Please list the characteristics you recognize during the listening. 3. Listen to the W.C. Handy composition St. Louis Blues as performed by The Empress of the Blues, Bessie Smith. On this recording of the Classic Blues style, Bessie is accompanied by Louis Armstrong on Cornet and Fred Longshaw on the Reed Organ. The individual contributions of Bessie and Louis are matched only by the amazing call and response pattern that these two greats establish from the onset—an exchange that clearly demonstrates the expressive potential of call and response. 4. Listen to Traveling Riverside Blues, performed by the great Country or Rural Blues artist, Robert Johnson. On this recording notice how Robert Johnson typifies the extremely personal approach of the Country/Rural Blues artist as evidenced by his adding to (adding one extra beat), or deleting from (dropping one beat) the 4/4 time of each measure of music. He does not do this to all the measures, but rather to just a selected few purely as a means of communicating his art. Maintaining strict 4/4 time coupled with the twelve-bar harmonic progression of the blues are secondary to the personal expression of his voice and guitar. 5. Compare and contrast St. Louis Blues and Traveling Riverside Blues. How are they different? What do they seem to have in common? 6. Urban Blues is a post World War II musical development. As African-Americans migrated north, the basic Country/Rural blues style mixed with the jazz rhythm section of piano, bass, and drums. Additionally, the musicians "plugged in," as amplification of the guitars, vocals, and the harmonica became standard. Listen to the following examples of Urban Blues: a) Baby How Long? - Howlin' Wolf b) I'm In The Mood - John Lee Hooker Notice how Hooker’s vocal timbre serves as a model for, and a direct influence on, Jimi Hendrix. c) Hard Loser - Muddy Waters d) When My Left Eye Jumps - Buddy Guy e) Wake Up Old Lady - Lightnin' Hopkins f) Sweet Sixteen - B.B. King In these recordings, list any of the musical characteristics (as presented in question #1) that you hear. 7. What is the given name, brand name and model of the specific electric guitar played by the great blues artist B.B. King? 8. List some of the characteristics of Blues music that have directly influenced or co-opted into rock and roll. 9. What instruments did Muddy Waters put together to form his Chicago-based blues band? What connection is there between this particular instrumentation and rock and roll music? 10. Prior to labeling it Rhythm and Blues in 1949, what was the categorical name used by the music industry for music recorded by African-American artists? 11. Beginning in the 1920's with Jimmie Rodgers' mix of yodeling, folk, blues, and "hillbilly" country; on into the 1930's with singer, songwriter, fiddler, band leader, publisher and Grand Ole Opry icon Roy Acuff; Country Music started to shift from small ensembles of instruments (string bands) and/or singers such as The Carter Family, to that of the "solo singer-with-band" set up.