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Bebop to Doowop to Hiphop: the Rhythm and Blues Tradition

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Bebop to Doowop to Hiphop: the Rhythm and Blues Tradition AAAS 288 and MUSIC 288 Dr. William T. McDaniel 5 hours HughesHall 314 292-4657 [email protected] Bebop to Doowop to Hiphop: The Rhythm and Blues Tradition Course Description The term Rhythmand Blues,simply abbreviatedR &.B, is usedhere to refer to the various derivativesof the bluesfrom the 1940sto the presenttime including the musical stylescommonly referred to as soul music,funk, Motown, urban contemporary,Philly Sound,Memphis Sound,Harlem Sound,Rock & Roll, Doowop, Disco, New Jack Swing, rap and hiphop. Rhythmand Blues,the generalterm for African American popularmusic sinceWodd War II, meldedearlier stylesof black music, especiallyblues, jazz, boogie- woogie, gospelmusic, and harmonysinging. R &.B launchedthe two most powerful and influential musical/culturalforces of the last half of the twentiethcentury, namely Rock & Roll and Rap music, the driving engineof hiphop culture. In so doing,R &.B transformedAmerican culture and has shapedmuch of the popularculture musical practicesin the modemworld. This coursewill provide a surveyof the variousmusic stylesthat makeupthe genreof Rhythmand Blues. Beginningwith big band swing, bebopjazz, social dancing,solo and small group singing of the1940s, this coursewill progresschronologically through the 195Os,1960s and on throughthe beginningof the 21st century.The coursewill examine major stylesof black social music including early R & B, doowop,soul music, Motown, and rap. Emphasiswill be placedon a stylistic analysisof the major performers, composersand arrangers,and their practices.Much attentionwill be given to the social and cultural context(including African retentivepractices, economic, race and gender issues)that nurturedthe developmentof R & B in the postwarenvironment of the 194Os throughthe hiphop culture of the 199Osand beyond.Films, demonstrations,recordings, videosand live performanceswill supplementthe lectures. This courseis designedfor anyoneinterested in the African American music/cultural experienceor the tradition of American popularmusic and culturefrom the 1940s. No formal knowledgeof music theory or previousbackground in music is required.This coursesatisfies GEC requirementsfor Category5: Arts and HumanitiesPart B. Analysis of Texts and Works of Arts in the Visual and PerformingArts. Required Textbook and CDs Becauseit is nearly impossibleto coverthe depthand breadthof this coursein any single text, the requiredtextbook for the courseis The Rhythm and Blues Tradition Reader and 4CD Packet availablefrom Zip Publishing. Evaluation The final gradewill be computedin the following manner: 1. One Live PerformanceReview and One CD Review (maximum2 pageseach) 10% 2. One article summaryand critique (3 to 5 pages) 10% 3. Listening Exam I 15% 4. Listening Exam II 15% 5. Midterm Exam 25% 6. Final Exam 25% 100% Grading Scale 94-100 A 89 - 93 A- / Bt 84-88 B 79 - 83 B- / Ct 74-78 C 69 - 73 C- 61-68 D 60- E UNIVERSITY POLICIES Academic Misconduct It is the responsibilityof the Committeeon AcademicMisconduct to investigateor establishprocedures for the investigationof all reportedcases of studentacademic misconduct. The term "academicmisconduct" includes all forms of studentacademic misconductwherever committed; illustrated by, but not limited to, casesof plagiarism and dishonestpractices in connectionwith examinations.Instructors shall report all instances of alleged academic misconduct to the committee (Faculty Rule 33356-5-487). (http://studentaffairs.osu.edu for students/esc.asp). Disability Services Studentswith disabilitiesthat havebeen certified by the Office for Disability Services will be appropriatelyaccommodated, and shouldinfonn the instructoras soonas possible of their needs. The Office for Disability Services is locatedin 150Pomerene Hall, 1760 Neil Ave.; telephone292-3307, TDD 292-0901;http://www.ods.ohio-state.eduJ. Weekly Scheduleof Topics I. Post.World War II Musical Confluences Early synthesisof blues,swing, jazz, gospel,and dancing Foundationof the bluesand the continuationof RaceRecords Dancingand Big Band Swing Decline of the big band;Advent of Bebopradicalism and modernism Gospelquartet singing: Golden GateQuartet Relationshipsbetween sacred and secularblack musics AssignedListening Readings Starr,Larry and ChristopherWaterman. "St.LouisBlues: Race Records in Hillbilly Music" in American PopularMusic: From Minstrelsy to MTV, 86-120. Starr and Waterman."In the Mood: The Swing Era, 1935-1945"in American Popular Music, 121-151. Blumenthal,Bob. "The Birth of Modern Jazz"(BEBOP)in Jazz:The First Century, 88-92. II. Early Rhythm and Blues Louis Jordan---singing,dancing, improvising JumpBlues: JoeLiggins, Amos Milburn, Wynonie Harris, Roy Brown, Big Joe Turner Big Mama Thornton's "You Ain't Nuthin' But A Houndog" Jackie Brenston's "Rocket 88" Earl Bostic AssignedListening Readings Garofalo,Reebee. "Good Rockin' Tonight:The Rise of Rhythm and Blues" in Rockin' Out: PopularMusic in the USA, 65-92. Starr and Waterman."Choo Choo Ch' Boogie:The PostwarEra, 1946-1954"in American Popular Music in the USA, 152-190. III. From Rhvthm and Blues to Rock and Roll to R & B in the 1950s Early Rockand Roll: white versionof black R & B Chuck Berry: Biggestinfluence and model for white Rockand Roll artistsfrom Elvis Presleyto Bill Haley Boogie Woogie: influenceof piano blues Little Richard---self-proclaimedinventor of Rockand Roll Cover Records The Coasters,The Drifters, Lavern Baker,Ruth Brown AssignedListening Readings Garofalo,Reebee. "Crossing Cultures: The Eruption of Rock'n'RoIl" in Rockin' Out, 93-120. Chapple, Steve and ReebeeGarofalo."Black RootsWhite Fruits: Racismin the Music Industry" in Rock'n'RoIl Is Here To Pay, 231-248. Larson,Thomas E. "The Black Rootsof Rock and Roll" in History of Rock andRoll, 7-13. IV. DooWop Rootedin the gospelquartet/quintet stylings of the 194Osand 1950s Vocal precursors:The Ink Spotsand Mills Brothers StreetCorner Harmony in the 1950sand 1960s "Why do Fools Fall in Love?" The Clovers,Orioles, Ravens,Penguins, Five Satins,EI Dorados,The Flamingos, Moonglows,Frankie Lymon and the Teenagers,Little Anthony and the Imperials, Dell Vikings, Chantels,The Platters AssignedListening Readings Garofalo,Reebee. "Doowop: The Intersectionof Gospel,Jazz, and Pop" in Rockin' Out, 121-130. Shaw,Arnold. "Doo W op and Group R & B" in Black PopularMusic in America, 182-187. v. Motown Berry Gordy Jr. and the most influential black-ownedrecord company in history Crossoverappeal that placedblack artistson white radio Motown Sound:singing, dancing,and the Big Show Motown team: songwriters,music arrangers,choreographer, and performers Hit Factory: "My Girl," "Stop! In the Nameof Love," "I HeardIt Throughthe Grapevine,""The Way You Do the Things You Do," "What's Going On" The greatestsingle roster of artistsof any recordcompany Solo artists:Mary Wells, Marvin Gaye,Stevie Wonder, Lionel Richie Groups:The Supremes,The Temptations,Jackson 5, SmokeyRobinson and the Miracles, GladysKnight and the Pips, Marvelettes,Four Tops, eta!. AssignedListening Readings Garofalo,Reebee. "The Civil Rights Movementand PopularMusic and Political Culture: The Sixties" in Rockin'Out, 183-199. Starr and Waterman."Berry Gordy and Motown" in American PopularMusic, 239-244. Smith, SuzanneE. "The Many Meaningsof the Motown sound"in DancingIn the Street:Motown and the Cultural Politics of Detroit, 161-172. VI. Soul Music: the secularization of black gospelstyle The influenceof the black church Synthesisof blues,jazz and gospel;singing with strongmessages and convictions Musical centersof Memphis (Stax), New York (Atlantic), Philadelphia,Chicago, Los Angeles "I Got A Woman" and "For Your PreciousLove" Early performers:Ray Charles,Sam Cooke, Jackie Wilson Aretha Franklin: Queenof Soul Other artists:Curtis Mayfield & the Impressions,Gene Chandler, Major Lance,Otis Redding,Sam & Dave,Wilson Pickett, CarlaThomas, Ben E. King, Maxine Brown, Chuck Jackson,Percy Sledge,Solomon Burke, Jerry Butler, the O'Jays, Spinners,Harold Melvin & the Blue Notes,The Stylistics,Al Green,et. al. 1970sSoul and Disco: Barry White, DonnaSummer, KC & the SunshineBand 1980s:Michael Jackson,Janet Jackson, Whitney Houston,George Michael, Gloria Estefan 199Os:Mariah Carey,Boyz to Men, Aaliyah, Toni Braxton,TLC, D'Angelo, Lauryn Hill, Erykah Badu, Macy Gray AssignedListening Readings Guralnick,Peter. "Prologue to Soul: SamCooke, Ray Charlesand the Businessof Music" in SweetSoul Music, 21-25. Guralnick,Peter. "Stax" The GoldenYears" in SweetSoul Music, 152-176. Starr and Watennan."Ray Charlesand Soul Music" in AmericanPopular Music, 267-270. Starr and Watennan."Aretha Franklin" in American PopularMusic, 274-277. VII. Funk: the "deadliest" and most soulful secular expression JamesBrown: The Godfatherof Soul The 1.8.' s, Maceo"Take Me to the Bridge" Parker,Bohannon GeorgeClinton & the Mothership:Parliament-Funkadelic, Bootsy Collins 1970sFunk: War, IsaacHayes, Isley Brothers,Tower of Power,Graham Central Station,the Ohio Players,Earth Wind & Fire, Kool & the Gang 1980s:Rick James,Cameo,The Gap Band,The Commodores Jazz-Funk:Herbie Hancock,Donald Byrd, FreddieHubbard, Lonnie Smith AssignedListening Readings Vincent, Rickey. "Introduction to Funk: The Bomb" in Funk: The Music. The People.and The Rhythm of One,3-46. Vincent, Rickey. "The Godfather:Soul Power" in Funk, 72-88. Vincent, Rickey. "Do You WannaGet Funky With Me?" in Funk, 216-230. Vincent, Rickey. "Funk in the 1980s:Super Freaks" in Funk, 267-285. VIII. The Beainninas of Hiphop Culture Hiphop: A cultural form that attemptsto negotiatethe experiencesof marginali-
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