1. art and entertainment
2. music

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COLLEGE SENATE OFFICE
RESOLUTION PROPOSAL COVER PAGE
DEADLINE FOR SUBMISSIONS: FEBRUARY 28
Routing # assigned by Senate Office
Incomplete proposals will be returned and proposals received after the
deadline may not be reviewed until next semester.
This Proposal
Replaces Resolution
Routing Number
#32_11-12GE
Use routing number and title in all
reference to this proposal.
2011-2012
INSTRUCTIONS







1.
Use committee guidelines and General Education forms available at brockport.edu/collegesenate/proposal.html.
Prepare ONE complete document in Word format: include this proposal cover page, proposal, attachments and support letters from your
department chair and dean.
Locate the Resolution # and date this proposal will replace at our “Approved Resolutions” page on our Web site.
Do not submit your proposal as a .pdf file unless using Gen Ed forms. They are difficult to merge.
Email completed proposal to [email protected]. (General Education Proposals go to [email protected] first.)
All revisions must be resubmitted to [email protected] with the original cover page including routing number.
Questions? Call the Senate office at 395-2586 or the appropriate committee chairperson.
PROPOSAL TITLE: Please be somewhat descriptive, ie. Graduate Probation/Dismissal Proposal rather than Graduate Proposal.
History of Rock Course in Music Proposal for “I” Code
2. BRIEF DESCRIPTION OF PROPOSAL:
New Undergraduate (swing) Course in Music, History of Rock and Popular Music in America
3.
WILL ADDITIONAL RESOURCES AFFECTING BUDGET BE NEEDED? _x__ NO ___ YES
EXPLAIN
YES
4.
DESCRIBE ANY DATA RELATED TO STUDENT LEARNING OUTCOMES ASSESSMENT USED AS PART OF
THE RATIONALE FOR THE REQUESTED SENATE ACTION.
5.
HOW WILL THIS EFFECT TRANSFER STUDENTS:
6.
ANTICIPATED EFFECTIVE DATE:
7.
SUBMISSION & REVISION DATES: PLEASE DATE ALL REVISED DOCUMENTS TO AVOID CONFUSION.
First Submission
3/2/12
8.
Updated on
N/A
Spring 2013
Updated on
Updated on
3/8/11
SUBMITTED BY: (contact person)
Name
Natalie Sarrazin
Department
Theatre
COMMITTEES TO COPY: (Senate office use only)
Standing Committee
__ Executive Committee
Phone
5256
Email
[email protected]
9.
__ Enrollment Planning & Policies
__ Faculty & Professional Staff Policies
X_General Education & Curriculum Policies
__ Graduate Curriculum & Policies
__ Student Policies
_ Undergraduate Curriculum & Policies
NOTES:
Forwarded To
Standing Committee
Executive Committee
Passed GED’s to Vice Provost
Senate
College President
OTHER
REJECTED -WITHDRAWN
Dates Forwarded
3/8/12, 3/14/12
4/9/12
4/8/12
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CONTEMPORARY ISSUES STUDENT LEARNING OUTCOMES CHECKLIST
(Also “I” with “W”, “Y”, “D”, and/or “O” codes)
(October, 2008 Version)
General requirements for Contemporary Issues courses
x
All Contemporary Issues courses must be upper division courses.
x
Students are required to have junior class standing (min. 54 cr.) and have
completed all General
Education Knowledge Area requirements. Although Contemporary Issues courses should
not have specific prerequisites, a lower division Knowledge Area course in the same
discipline that is available to all students may be required with the approval of the
General Education committee.
Students in Contemporary Issues courses must achieve all the following student
learning outcomes
In the spaces provided below each checked outcome describe how course instruction will be designed to achieve and assess these outcomes.
You may append additional information if needed. Contemporary Issues courses are coded “I” if approved in Fall
2003 or later.
x
Analyze a major issue with contemporary and enduring human significance,
bringing in perspectives that have an important bearing on the issue(s) from more than
one of the following Knowledge Areas: Fine Arts, Humanities, Natural Sciences and
Social Sciences.
The course covers both rock and roll as well as the broader context of popular
music in America from 1850 to the present. Popular music and its sub-genres
are at the core of American identity, and are an enduring artistic form
addressing some of the most pressing and relevant issues of contemporary life
from reconstruction to protests to the postmodern. The course draws from the
Fine Arts as well as the Humanities and Social Sciences, and introduces a
variety of musical genres and their cultural contexts such as jazz, blues, R &
B, folk music, rock, heavy metal, punk and electronic. The course will address
issues of racism, sexism, and disparities between classes regarding the
production and consumption of popular musical genres.
x
Recognize and articulate relationships between different Knowledge Areas.
The course is interdisciplinary, and concerns the structure and construction of
music and musical elements as well as analyzing them within broader
ethnomusicological, sociological and critical studies concepts and theoretical
perspectives. Other humanities include dance, which features prominently in a
discussion of popular music, and other subject areas from the social sciences
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include race, gender, and postmodernism. Projects and papers will give
students the opportunity to recognize and analyze music through the lens of
these different knowledge areas.
x
Locate, evaluate and synthesize information from a variety of sources (outcome
IL3).
Students will draw from printed, visual, and aural sources for this class,
including audio (CD, MP3, streaming), video (documentaries, concert footage)
and a variety of academic readings from various fields outlined above.
Assignments, projects and papers are opportunities for students to articulate
and synthesize information from these sources.
x
Develop and defend well-reasoned arguments.
The course requires daily discussion of the readings featuring contemporary
social, political, gender, and racial issues of music in its cultural contexts. The
construction of a large research project at the end of the semester will offer
opportunities for students to defend positions regarding contemporary issues
and other concerns involving the social perspectives on music in contemporary
culture.
x
Write a major research paper with at least one opportunity for feedback and
revision OR
demonstrate mastery of the course issue(s) in some equivalent manner as determined
by the
instructor.
The course requires six minor and two major research papers each with
opportunity for feedback from the instructor. Minor research papers will be a
minimum of 6 pages in length, major will be a minimum of 10 pages in length.
Both larger papers, particularly the final one, are presented in class orally.
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Contemporary Issues course instructors are encouraged to include instruction in
one or two (maximum) of the following three student learning outcomes.
Please check below any outcomes for which you are requesting approval and describe how
the course will provide instruction in and assess that/those particular outcome(s).
1.
Perspectives on Women:
NOTE: As of Fall 2009, there will be two types of courses in the Perspectives on Women area. The “WY” courses will provide instruction in oral
communication and meet the outcomes for this area. The courses coded “W” will not provide instruction in oral communications but will meet the
Perspectives on Women outcomes and requirement. SLN and other on-line courses can bear the “W” code but not the “Y” code.
❒
W1
Perspectives on Women courses allow students to demonstrate
knowledge of scholarship on women within a relevant knowledge area, with such
scholarship constituting a central or major theme of the course, as opposed to a
peripheral or occasional consideration. Scholarship on women is defined as a critical
awareness of gender issues within the knowledge area. Courses are coded either “W” or
“WY”.
Check one of the two boxes immediately below:
❒For “W” courses – Instruction in Oral Communications outcomes is not required.
Courses already coded “Y” must have approval of the General Education Committee to
switch to the “W” code.
❒ For “WY” courses -- Oral communication outcomes: In addition to the above outcomes,
all courses coded “Y” are required to meet the oral communication outcomes. Please
describe how this course will provide students with the opportunity to develop proficiency
in oral discourse AND evaluate an oral presentation according to established criteria.
2.
Diversity:
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❒
RE1
analyze social conflicts, prejudices, and/or intolerance relevant to a
contemporary setting, and arising from such issues as racism, ethnicity, religious
affiliation, sexual orientation, class, etc. These concerns shall constitute a major or
central theme of the course, as opposed to a peripheral or occasional consideration.
Courses are coded “D.”
Diversity (cont.)
Please check any student learning outcomes for which you are requesting approval. In the space provided below that/those checked outcome(s), describe how course
instruction will be designed to achieve these outcomes. Also, state briefly how you will assess that particular student learning outcome in your course. You may
append additional information if needed. The following student learning outcomes may be included in any General Education course (except American History and
Western Civilization). Any course approved for “O” can also be counted as a “C” course for students on older General Education Programs.
3. Other World Civilizations (Non-Western):
❒
O1
demonstrate knowledge of either a broad outline of world history OR
the distinctive features of the history, institutions, economy, society and culture of one
non-Western civilization
AND
O2
compare the perspective of at least one non-Western, third world or
developing society with
their own. Courses coded “O.”
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MUS 4xx History of Rock and Popular Music in America
Course Goals and Objectives
Course Objectives:
The History of Rock and Popular Music in America will
1) Provide students with tools to approach and critique popular music in
and as culture through a multi-disciplinary format (music theory,
ethnomusicology, sociology, etc.)
2) Provide students with a range of technical language to identify,
discuss, compare and integrate aspects of different popular musical
styles.
3) Provide students with an understanding of the history and
development of rock 'n' roll as a musical style and cultural phenomenon
within a western cultural context
placed
4) Provide students with the ability to analyze cultural forms and products such
as music video and popular musical genres
5) Provide students with the opportunity to discuss and analyze aspects
of gender, ethnicity and race in multiple American popular musical
contexts
Course Goals
By the end of the course, students will be able to:
 Articulate major theories and ideas regarding popular music study, and employ appropriate
theoretical language in the critique of popular music in culture
 Listen to an example from a genre of music studied in class, comprehend its distinctive musical
characteristics, and articulate those characteristics.
 Listen to an example from a genre of music studied in class, identify its characteristics, and
develop conclusions about its genre and historical contexts of its origin.
 Describe the broad historical context, likely social function, and probable performance
circumstances for a piece on the class listening list (and for pieces of similar types).
 Listen to an example from a genre of music studied in class, and articulate a comparison to other
music genres discussed in class.
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 Employ a range of technical language to identify, discuss, compare and integrate aspects of
different popular musical styles.
 Describe and compare a range of music styles, and relate their style characteristics to aspects of
cultural history.
 Listen, read, speak, and think critically about the relationship between musical style and cultural
history.
TOPICAL OUTLINE
SCHEDULE OF TOPICS (TENTATIVE)
Week I
Jan 25
Jan 27
Week II
Feb 1
Feb 3
Week III
Feb 8
Feb 10
Week IV
Feb 15
Feb 17
Week V
Feb 22
Introduction, Popular Music, Music Analysis
Reading: Friedlander “Rock Window” (Angel)
Concepts and Early History, Popular Music
Reading: Starr: Streams and Themes, Chapter 1
Elements of Music
Reading: Starr: Popular Music 19th Century Chapter 2
Study of Popular Culture
Music Analysis I, Rock Window Due
Reading: Starr: Social Dance and Jazz, Chapter 3
Reading: Starr: Tin Pan Alley, Chapter 4
Negus: Popular Music in Theory (Group)
Race and Popular Music
Reading: Starr: Race Records, Chapter 5
Reading: Vernallis: The aesthetics of music video (Angel)
Influence of Jazz
Reading: Starr: Swing Era, Chapter 6
Reading: Starr: Postwar, Chapter 7
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Feb 24
Week VI
March 1
March 3
(Group)
Week VII
March 8
March 10
Sociology of Popular Music
Reading: Kotarba, Introduction
Music Video Analysis Due
Dreamworlds
Kotarba: Understanding Society through Popular Music
Reading: Starr: Rock Around the clock, Chapter 8
Paper I/ Oral Presentations
March 15, 17 – No classes, Spring Break
Week VIII
March 22
March 24
Week IX
March 29
March 30
Week X
April 5
April 7
Mid-Semester Examination
Reading: Starr: Chapter 9
Reading: Starr: Blowin’ in the Wind Chapter 10
Woodstock, Monterey and Musical Authenticity
Reading: Frith, On the Value of Popular Music (reserve)
Annotated Bibliography due for Final Project
Reading: Starr: Chapter 11
Music Genre Analysis Due
Week XI
April 12
Reading: Starr: Chapter 12
April 14
Reading: Starr: Chapter 13
Week XII
April 19
April 21
Music Analysis II due
Reading: Starr: Chapter 14
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Week XIII
April 26
April 28
Reading: Starr: Chapter 15
America in World Popular Music
Week XIV
May 3
Final Projects/Oral Presentations
May 5
Final Projects/Oral Presentations
METHODS OF EVALUATION
Grading Policy:
Attendance and Participation
15%
Projects and Analyses
Theories of Popular Music
5%
Music Analysis I (Rock Window)
5%
Music Analysis II
5%
Music Video Analysis
(Vernallis)
5%
Annotated Bibliography
5%
Sociological Contexts of Rock (Kotarba) 10%
Concert Attendance
2%
Midterm Quiz
8%
Paper I and Oral Presentation
15%
Paper II and Oral Presentation
15%
Final Quiz
10%
 Attendance at class is mandatory and active participation in class as an individual and part of a
group is a major part of your grade.
 There will be several analytical projects during the semester. One is an analysis of a music video.
Specific topics and guidelines for the group project will be forthcoming.
 Paper and presentation topics will be discussed on an individual basis with the instructor. Papers
must include two elements: musical analysis and sociocultural analysis based on the work in class
and outside reading and listening. Specific guidelines will be given in class.
 Exams will include multiple choice, listening identification, short answer, and essay.
LIST OF INSTRUCTIONAL MATERIALS
 Starr, L. Waterman, C. 2010 American Popular Music: From Minstrelsy to MP3. 3rd Edition,
Oxford University Press.
 Excerpts from Adorno, Friedlander, Stern, Frith, and others (see bibliography below). These will be
available on Angel or online.
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 There are also 11 compilation CDs that will be on reserve in the library that are required listening
for exams and projects
 Selected videos (see mediagraphy below)
Additional Readings
 Cateforis, T. The Rock History Reader. Routledge, 2007. (my copy)
 Friedlander, Paul. 1988. "The Rock Window: A Way of Understanding Rock Music" in
Tracking: Popular Music Studies, Volume I, number 1, Spring. (Angel)
 Frith, Simon. 1996. Performing Rites: On the Value of Popular Music. Cambridge University
Press. (reserve)
 Kotarba, Joseph, P. Vannini. Understanding Society through Popular Music. Routledge, 2009
(my copy)
 Negus, Keith. Popular Music in Theory. University Press of New England, Hanover, NH, 1997
(reserve)
 Vernallis, Carol. “The Aesthetics of Music Video: The Relation of Music and Image in
Madonna’s ‘Cherish’.” Popular Music, 1998. (Angel)
 Encyclopedia entries for Popular Music, Popular Culture, Rock, Rockabilly, and Rock and Roll.
Mediagraphy
 History of Rock ‘n Roll. 2004. 10 part series, PBS Video
 Woodstock 3 Days of Peace and Music. 1994. Warner Home Video
 Monterey Pop Festival. 1997. Rhino Release
 The Seven Ages of Rock. 2007 VH1 documentary series
 Dreamworlds 3: Desire Sex and Power in Music Video Media. 2007. Media Education
Foundation
Encyclopedias/Reference
 The Rolling Stone Illustrated History of Rock and Roll. 1995 (reserve)
 The Greenwood encyclopedia of rock history. 2006 (reserve)
CD I
01.
02.
03.
04.
05.
06.
07.
08.
“Camptown Races” – Steven Foster
“Amazing Grace” – Traditional American
Symphony No. 5, I. Allegro con brio – Ludwig van Beethoven
“Barbara Allen” – Ellen Hargis and the King’s Noyse version
“Barbara Allen” – Ewan MacColl version (“Bawbee Allen”)
“Barbara Allen” – Jean Ritchie version (“Barbary Allen”)
“Barbara Allen” – Monroe Gevedon version
“Were I Laid on Greenland’s Coast”
from The Beggar’s Opera – John Gay
09. Washington Post March, John Philip Sousa
10. “Lambango” – Mande Jali, The Gambia
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11.
12.
13.
14.
“Akosua Tuntum” – Traditional Akan, Ghana
“Rosie” – Traditional African-American
“Meet Me in Galilee” – Moving Star Hall Singers
Maple Leaf Rag – Scott Joplin
CD II
01.
02.
03.
04.
05.
06.
07.
08.
“Crossroad Blues” – Robert Johnson
“I’m Wild About That Thing” – Bessie Smith
Black Bottom Stomp – Ferdinand “Jelly Roll” Morton
“Alexander's Ragtime Band” – Irving Berlin
“Ol’ Man River” – Frank Sinatra
“Single Girl” – The Carter Family
“Blue Yodel” – Jimmie Rogers
“Teardrops From My Eyes” – Ruth Brown
CD III
01.
02.
03.
04.
05.
06.
07.
08.
09.
10.
11.
12.
“Rock Around the Clock” – Bill Haley & His Comets
“Shake, Rattle, and Roll” – Bill Haley & His Comets
“Hound Dog” – Big Mama Thorton
“That’s All Right,” – Elvis Presley
“Great Balls of Fire” – Jerry Lee Lewis
“Heartbreak Hotel” – Elvis Presley
“Tutti Frutti” – Little Richard
“Roll Over Beethoven” – Chuck Berry
“Blue Moon of Kentucky” – Bill Monroe
“Maybellene” – Chuck Berry
“Oh Boy” – Buddy Holly and The Crickets
“Ain’t That A Shame” – Fats Domino
CD IV
01.
02.
03.
04.
05.
06.
07.
08.
09.
“Across the Alley from the Alamo” – The Mills Brothers
“Crying in the Chapel” – The Orioles
“Why Do Fools Fall in Love” – Frankie Lymon and the Teenagers
“Sh-Boom” – The Chords
“Sh-Boom” – The Crew Cuts
“Take Good Care of My Baby” – Bobby Vee
“Will You Love Me Tomorrow” – The Shirelles
“The Loco-Motion” – Little Eva
“Da Doo Ron Ron” – The Crystals
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10. “Be My Baby” – The Ronettes
CD V
01.
02.
03.
04.
05.
06.
07.
08.
09.
10.
11.
12.
13.
“Love Me Do” – The Beatles
“Rollin’ Stone” – Muddy Waters
“Time is On My Side” – The Rolling Stones
“Satisfaction” – The Rolling Stones
“Please, Please Me” – The Beatles
“Eleanor Rigby” – The Beatles
“Within You, Without You” – The Beatles
“A Day in the Life” – The Beatles
“Surfin’ U.S.A.” – The Beach Boys
“I Get Around” – The Beach Boys
“In My Room” – The Beach Boys
“God Only Knows” – The Beach Boys
“Good Vibrations” – The Beach Boys
CD VI
01.
02.
03.
04.
05.
06.
07.
08.
09.
10.
11.
12.
13.
14.
“Aquarius/Let the Sunshine In” – The 5th Dimension
“This Land is Your Land” – Woody Guthrie
“For What It’s Worth – Buffalo Springfield
“A Hard Rain’s A-Gonna Fall” – Bob Dylan
“Mr. Tambourine Man” – Bob Dylan/The Byrds
“Somebody to Love” – Jefferson Airplane
“The Music Never Stopped” – The Grateful Dead
“Ball and Chain” – Janis Joplin
“Break On Through” – The Doors
“Wild Thing” – Jimi Hendrix & the Experience
“My Generation” – The Who
“Dancing in the Streets” – Martha & the Vandellas
“Say It Loud (I’m Black and I’m Proud)” – James Brown
“Respect” – Aretha Franklin
CD VII
01.
02.
03.
04.
05.
“Whiter Shade of Pale” – Procul Harum
“Bohemian Rhapsody” – Queen
“More and More” – Blood Sweat, and Tears
“Thank You (Falettinme Be Mice Elf Again)” – Sly and the Family Stone
“Chocolate City” – (George Clinton’s) Parliament
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06.
07.
08.
09.
10.
11.
12.
13.
14.
15.
“Shining Star” – Earth, Wind and Fire
“Shake Your Booty” – KC and the Sunshine Band
“Stairway to Heaven” – Led Zeppelin
“Iron Man” – Black Sabbath
“School’s Out” – Alice Cooper
“Don’t Go Breaking My Heart” – Elton John and Kiki Dee
“The Night They Went Drove Old Dixie Down” – The Band
“Sweet Home Alabama” – Lynard Skynard
“Personality Crisis” – The New York Dolls
“Anarchy in the U.K.” – The Sex Pistols
CD VIII
01.
02.
03.
04.
05.
06.
07.
08.
09.
10.
11.
12.
“Video Killed the Radio Star” – The Buggles
“Psycho Killer” – The Talking Heads
“Whip It!” – Devo
“Material Girl” – Madonna
“Thriller” – Michael Jackson
“Sweet Dreams (Are Made of These)” – Eurythmics
“My Hometown” – Bruce Springsteen and the E Street Band
“Black or White” – Michael Jackson
“Eruption” – Van Halen
“Jump” – Van Halen
“Too Young to Fall in Love” – Mötley Crüe
“Livin’ On A Prayer” – Bon Jovi
CD IX
01.
02.
03.
04.
05.
06.
07.
08.
09.
“The Message” – Grandmaster Flash & the Furious Five
“Rapper’s Delight” – Sugarhill Gang
“Rapture” – Blondie
“Walk This Way” – Run-D.M.C. with Aerosmith
“(You Gotta) Fight For Your Right (To Party)” – Beastie Boys
“Fight the Power” – Public Enemy
“Illegal Search” – L.L. Cool J
“Ladies First” – Queen Latifah with Monie Love
“Let’s Talk About Sex” – Salt ‘n’ Pepa
CD X
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01.
02.
03.
04.
05.
06.
07.
08.
09.
10.
11.
12.
13.
14.
Alleluia, beatus vir qui suffert – Benedictine Monks of S. Domingo
“Heaven in the Real World” – Steven Curtis Chapman
“Smells Like Teen Spirit” – Nirvana
“Celebrity Skin” – Hole
“Tiger” – Paul Cole
“Birdhouse in Your Soul” – They Might Be Giants
“Longview” – Green Day
“Irresponsible Hate Anthem” – Marilyn Manson
“Margin Walker” – Fugazi
“No Woman, No Cry” – The Fugees
“Bustin’ Loose, Part I” – Chuck Brown and The Soul Searchers
O Superman – Laurie Anderson
“Godspeed” – BT
“Natural Blues” – Moby
CD XI
01.
02.
03.
04.
05.
06.
07.
08.
09.
10.
11.
“Clementine” – the Batwa people (Zaire)
“If I Were A Groupie” – The Pizzicato Five (Japan)
“Superstar” – S.H.E. (China)
“Flying” – Cui Jian (China)
Nhemamusasa (Cutting Branches for Shelter) – trad. Shona (Zimbabwe)
“Nyarai” (“Be Ashamed”) – Thomas Mapfumo (Zimbabwe)
“Kaahe Chede Mohe” (“Are You Flirting with Me?”) – (India)
“Corrido de la Soberbia” (“Ballad of Arrogance”) – Inti Illimani (Chile)
Uluru Sunrise – trad. Yolngu (Australia)
“Djäpana” (“Sunset Dreaming”) – Yothu Yindi (Australia)
“Yardım Et” – Mor ve Ötesi (Turkey)
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COURSE SYLLABUS
THE HISTORY OF ROCK AND POPULAR MUSIC IN AMERICA
MUS 495: SPRING 2011
T/TH 11:15-12:45
Tower Fine Arts 120
Instructor:
Email:
Office:
Office Hours:
Office Phone:
NATALIE SARRAZIN, PHD
[email protected]
106 Tower Fine Arts
Monday, 12-2 pm and by appointment
395-5256
Course Description:
The History of Rock and Popular Music takes an historical and topical approach to the study of rock
music as well as a theoretical approach to the study of popular music in the late 20th and early 21st
century. The chronological outline places the history of rock music into both socio-historical and
political events contexts, while tying in the economic history of the music industry, radio, and the
effect of changing media trends. It recognizes rock's place in the "big picture" as a major cultural
phenomenon of the 20th century, and views rock through the lens of popular music and media studies.
Prerequisite: MUS 105 Introduction to Music.
Course Objectives:
The History of Rock and Popular Music in America will
1) Provide students with tools to approach and critique popular music in
and as culture through a multi-disciplinary format (music theory,
ethnomusicology, sociology, etc.)
2) Provide students with a range of technical language to identify,
discuss, compare and integrate aspects of different popular musical
styles.
3) Provide students with an understanding of the history and
development of rock 'n' roll as a musical style and cultural phenomenon
within a western cultural context
placed
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4) Provide students with the ability to analyze cultural forms and products such
as music video and popular musical genres
5) Provide students with the opportunity to discuss and analyze aspects
of gender, ethnicity and race in multiple American popular musical
contexts
Course Goals
By the end of the course, students will be able to:
 Articulate major theories and ideas regarding popular music study, and employ appropriate
theoretical language in the critique of popular music in culture
 Listen to an example from a genre of music studied in class, comprehend its distinctive musical
characteristics, and articulate those characteristics.
 Listen to an example from a genre of music studied in class, identify its characteristics, and
develop conclusions about its genre and historical contexts of its origin.
 Describe the broad historical context, likely social function, and probable performance
circumstances for a piece on the class listening list (and for pieces of similar types).
 Listen to an example from a genre of music studied in class, and articulate a comparison to other
music genres discussed in class.
 Employ a range of technical language to identify, discuss, compare and integrate aspects of
different popular musical styles.
 Describe and compare a range of music styles, and relate their style characteristics to aspects of
cultural history.
 Listen, read, speak, and think critically about the relationship between musical style and cultural
history.
Required Reading, Listening and Viewing:
 Starr, L. Waterman, C. 2010 American Popular Music: From Minstrelsy to MP3. 3rd Edition,
Oxford University Press.
 Excerpts from Adorno, Friedlander, Stern, Frith, and others (see bibliography below). These will be
available on Angel or online.
 There are also 11 compilation CDs that will be on reserve in the library that are required listening
for exams and projects
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 Selected videos (see mediagraphy below)
Additional Readings
 Cateforis, T. The Rock History Reader. Routledge, 2007. (my copy)
 Friedlander, Paul. 1988. "The Rock Window: A Way of Understanding Rock Music" in
Tracking: Popular Music Studies, Volume I, number 1, Spring. (Angel)
 Frith, Simon. 1996. Performing Rites: On the Value of Popular Music. Cambridge University
Press. (reserve)
 Kotarba, Joseph, P. Vannini. Understanding Society through Popular Music. Routledge, 2009
(my copy)
 Negus, Keith. Popular Music in Theory. University Press of New England, Hanover, NH, 1997
(reserve)
 Vernallis, Carol. “The Aesthetics of Music Video: The Relation of Music and Image in
Madonna’s ‘Cherish’.” Popular Music, 1998. (Angel)
 Encyclopedia entries for Popular Music, Popular Culture, Rock, Rockabilly, and Rock and Roll.
Mediagraphy
 History of Rock ‘n Roll. 2004. 10 part series, PBS Video
 Woodstock 3 Days of Peace and Music. 1994. Warner Home Video
 Monterey Pop Festival. 1997. Rhino Release
 The Seven Ages of Rock. 2007 VH1 documentary series
 Dreamworlds 3: Desire Sex and Power in Music Video Media. 2007. Media Education
Foundation
Encyclopedias/Reference
 The Rolling Stone Illustrated History of Rock and Roll. 1995 (reserve)
 The Greenwood encyclopedia of rock history. 2006 (reserve)
Grading Policy:
Attendance and Participation
15%
Projects and Analyses
Theories of Popular Music
5%
Music Analysis I (Rock Window)
5%
Music Analysis II
5%
Music Video Analysis
(Vernallis)
5%
Annotated Bibliography
5%
Sociological Contexts of Rock (Kotarba) 10%
Concert Attendance
2%
Midterm Quiz
8%
Paper I and Oral Presentation
15%
Paper II and Oral Presentation
15%
Final Quiz
10%
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 Attendance at class is mandatory and active participation in class as an individual and part of a
group is a major part of your grade.
 There will be several analytical projects during the semester. One is an analysis of a music video.
Specific topics and guidelines for the group project will be forthcoming.
 Paper and presentation topics will be discussed on an individual basis with the instructor. Papers
must include two elements: musical analysis and sociocultural analysis based on the work in class
and outside reading and listening. Specific guidelines will be given in class.
 Exams will include multiple choice, listening identification, short answer, and essay.
Administrative Policies
The purpose of these instructions is to provide you with the basic administrative requirements and
procedures for this course. Following these instructions will be a benefit to you and will assist you in
achieving the maximum benefit from the course. The following applies to all students.
1. Class Attendance. Roll will be taken at the start of all class sessions. There are certain in-class
requirements and presentations for which you must be present in order to participate fully. If you are
not present, you cannot receive full credit. Reading and Assignments are required in order to be able to
ACTIVELY participate in and contribute to class discussion. You will be called upon to present your
views on and interpretations of reading assignments and class discussions. In addition, there will be inclass activities for which you need to be present in order to participate fully to receive full credit.
2. Absences. Serious illness or death within the student's immediate family, religious observations and
participation in field trips and athletic contests are all understandable reasons for missing class.
However, you have an obligation ahead of time to make the necessary arrangements for make-up work,
preferable in person. No more than 3 unexcused absences are granted during the semester. If you miss
class, you have an obligation to make arrangements to make-up any missed work.
3. Student Conduct. As per the University’s requirements for student conduct, students are expected
to obey the guidelines for all of their work throughout the semester.
Dress: Baseball caps are allowed in class except for exam or quiz days
Food: Please refrain from eating large meals in class
Computers: Computers will not be allowed in class.
Cell Phones: Off
4. Academic Integrity. Academic integrity is to be maintained throughout all aspects of the course. All
coursework is to be done individually unless otherwise indicated by the instructor. Students are
required to complete the academic integrity tutorial on the Angel homepage for this class. (Note: if you
have already completed this for another class, I will be notified and you will receive credit and will not
have to complete it again).
5. Assignments. All work is to be turned in on time, either submitted electronically (if required for the
assignment) or turned in at the beginning of class. Late work will automatically be graded down one
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letter grade. Only in cases of emergencies or absences as stated in #1 above will work be accepted late,
and only then with written proof of the emergency (according to university guidelines). Do not send
work via email without prior permission. Be sure to have a backup copy of all assignments either on
disk or hardcopy.
6. Disability Statement
Students with documented disabilities may be entitled to specific accommodations. SUNY Brockport's
Office for Students with Disabilities makes this determination. Please contact the Office for Students
with Disabilities at 395-5409 or [email protected] to inquire about obtaining an official letter to
the course instructor detailing approved accommodations. The student is responsible for providing the
course instructor with an official letter. Faculty work as a team with the Office for Students with
Disabilities to meet the needs of students with disabilities.
Fine Arts Events Calendar
Spring 2011
Friday, Feb. 4
Classically Beautiful Songs and Arias with
Allyn Van Dusen, mezzo soprano and Gordon Porth, piano Tower
Main Stage, ($8 students)
Wednesday, March 2
Music at Noon
12:00 pm, Drake Memorial Library (free)
Friday, March 25
Jazz Day at Brockport, Roberto Occhipinti and Ensemble
TBA
Rochester Philharmonic Instrument Demo
6-7 pm Room TBA (free)
TBA
Rochester Philharmonic Instrument Demo
6-7 pm Room TBA (free)
TBA
Rochester Philharmonic Instrument Demo
6-7 pm Room TBA (free)
TBA
Rochester Philharmonic Instrument Demo
6-7 pm Room TBA (free)
Wednesday, April 13
Music at Noon
12:00 pm, Drake Memorial Library (free)
Saturday, April 23
GospelFest featuring Brockport Gospel Choir
7 pm. Zion Hill Missionary Baptist Church
250 Doctor Samuel McCree Way, Rochester
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Friday , April 29
Brockport Ensembles Concert
3:30 Location, Tower Fine Arts
Sunday, May 8
Brockport College-Community Chorus
2:00 pm Seymour College Union Ballroom ($8 students)
SCHEDULE OF TOPICS (TENTATIVE)
Week I
Jan 25
Jan 27
Week II
Feb 1
Feb 3
Week III
Feb 8
Feb 10
Week IV
Feb 15
Feb 17
Week V
Feb 22
Introduction, Popular Music, Music Analysis
Reading: Friedlander “Rock Window” (Angel)
Concepts and Early History, Popular Music
Reading: Starr: Streams and Themes, Chapter 1
Elements of Music
Reading: Starr: Popular Music 19th Century Chapter 2
Study of Popular Culture
Music Analysis I, Rock Window Due
Reading: Starr: Social Dance and Jazz, Chapter 3
Reading: Starr: Tin Pan Alley, Chapter 4
Negus: Popular Music in Theory (Group)
Race and Popular Music
Reading: Starr: Race Records, Chapter 5
Reading: Vernallis: The aesthetics of music video (Angel)
Influence of Jazz
Reading: Starr: Swing Era, Chapter 6
Reading: Starr: Postwar, Chapter 7
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Feb 24
Week VI
March 1
March 3
(Group)
Week VII
March 8
March 10
Sociology of Popular Music
Reading: Kotarba, Introduction
Music Video Analysis Due
Dreamworlds
Kotarba: Understanding Society through Popular Music
Reading: Starr: Rock Around the clock, Chapter 8
Paper I/ Oral Presentations
March 15, 17 – No classes, Spring Break
Week VIII
March 22
March 24
Week IX
March 29
March 30
Week X
April 5
April 7
Mid-Semester Examination
Reading: Starr: Chapter 9
Reading: Starr: Blowin’ in the Wind Chapter 10
Woodstock, Monterey and Musical Authenticity
Reading: Frith, On the Value of Popular Music (reserve)
Annotated Bibliography due for Final Project
Reading: Starr: Chapter 11
Music Genre Analysis Due
Week XI
April 12
Reading: Starr: Chapter 12
April 14
Reading: Starr: Chapter 13
Week XII
April 19
April 21
Music Analysis II due
Reading: Starr: Chapter 14
Week XIII
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April 26
Reading: Starr: Chapter 15
April 28
America in World Popular Music
Week XIV
May 3
Final Projects/Oral Presentations
May 5
Final Projects/Oral Presentations
Final Examination Thursday, May 12, 10:30-12:30
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THE HISTORY OF ROCK AND POPULAR MUSIC
IN AMERICA
MUS 495, Spring 2011
Course Bibliography
Bold indicates book on reserve in Drake
Altschuler, Glenn C. All shook up : how rock ’n’ roll changed America / 2003
2003
ML3534 .A465
Bayton, Mavis. Frock rock : women performing popular music / 1998 ML3492 .B39 1998
Carson, Mina Julia. Girls rock! : fifty years of women making music /
2004 ML82 .C37 2004
Christe, Ian. Sound of the beast: the complete headbanging history of heavy metal / 2003 ML3534
.C475 2003
Fisher, Marc. Something in the air : radio, rock, and the revolution that shaped a generation / 2007
HE8698 .F47 2007
Frith, Simon. Sound effects : youth, leisure, and the politics of rock’n’roll /
.F74
Frith, Simon.
1981
ML3790
Art into pop / 1987 ML3650 .F74 1987
Frith, Simon. Music for pleasure : essays in the sociology of pop / 1988 ML3534 .F75 1988
Frith, Simon.
1996
Performing rites : on the value of popular music / 1996
ML3795 .F738
Friedlander, Paul. The Rock Window: A systematic approach to an understanding of rock music.
Journal of Popular Music Studies Volume 1, Issue 1 , Pages42 – 51 1988 Blackwell Publishing (Angel)
Friedlander, Paul. Rock and roll : a social history /
1996
ML3534 .F74 1996
Gracyk, Theodore. I wanna be me : rock music and the politics of identity /
.G69 2001
Graham, Ronnie.
1988
The Da Capo guide to contemporary African music /
1988
2001 ML3534
ML3502.5 .G7
Mahon, Maureen. Right to rock : the Black Rock Coalition and the cultural politics of race /
ML3534 .M31 2004
2004
Negus, Keith. Popular music in theory: an introduction
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ML3470 .N44 1997
Nehring, Neil, Popular music, gender, and postmodernism : anger is an energy /
.N44 1997
1997
ML3534
Pratt, Ray. Rhythm and resistance : explorations in the political uses of popular music / 1990
ML3470 .P7 1990
Pough, Gwendolyn D., Check it while I wreck it : Black womanhood, hip hop culture, and the public
sphere / 2004 E185.86 .P666 2004
Ramsey, Guthrie P. Race music : black cultures from bebop to hip-hop / 2003
.R32 2003
Roberts, Robin, Ladies first : women in music videos /
ML3556
1996 ML82 .R63 1996
Starr, Larry and Christopher Waterman. 2006. American Popular Music from Minstrelsy to MP3.
2nd ed., Oxford University Press.ML3477 .S73 2006
Szatmary, David P., Rockin’ in time : a social history of rock-and-roll /
.S94 2007
2007
ML3534
Vernallis, Carol. “The Aesthetics of Music Video: The Relation of Music and Image in Madonna’s
‘Cherish’.” Popular Music, 1998. (Angel)
Walser, Robert. Running with the Devil : power, gender, and madness in heavy metal music / 1993
ML3534 .W29 1993
Whitely, Sheila. Sexing the groove : popular music and gender /
1997
1997
ML3470 .S46
Winfield, Betty. Bleep! censoring rock and rap music / 1999 ML3534 .B632 1999
Videos
The history of rock ’n’ roll /
2004 ML3534 .H57 2004 DVD
Rock & roll / 1995 ML3534 .R6315 1995v Video -- VHS
Dreamworlds 3 : desire, sex & power in music video / 2007
PN1992.8.M87 D743 2007DVD
Dreamworlds 2 : desire/sex/power in music video / 1995 PN1992.8.M87 D74 1995v VHS
Monterey pop / 2006 M1630.18 .M668 1968DVD
Woodstock : 3 days of peace & music /
1969 ML38.W66 W6 1969- DVD
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This is Spinal Tap / 1984 MOVIES T DVD
The Doors / 2000 MOVIES D DVD
Reference
The Greenwood encyclopedia of rock history. 2006 ML3534 .G754 2006 Reference Collection (Main
Floor)
The New Rolling Stone encyclopedia of rock & roll / 1995
(Main Floor)
ML102.R6 R64 1995 Reserve Desk
Stambler, Irwin. The encyclopedia of pop, rock & soul / 1989 ML102.P66 S8 1989 Reference
Collection (Main Floor)
Bronson, Fred. The Billboard book of number 1 hits / 2003 ML156.4.P6 B76 2003 Reference
Collection (Main Floor)
Miller, Jim, Flowers in the dustbin : the rise of rock and roll, 1947-1977 / 2000
2000
ML3534 .M55
Pollock, Bruce. The rock song index : essential information on the 7,500 most important songs of rock
and roll / 1997 ML128.R6 P65 1997 Reference Collection (Main Floor)
Scaruffi, Piero. A history of rock music, 1951-2000 / 2003 ML3534 .S34 2003
Turk, John R. Rock and roll essentials : a comprehensive guide through the best of rock and roll’s first
thirty years 2002 MT146 .T87 2002
Vinet, Mark, Evolution of modern popular music : a history of blues, jazz, country, R & B, rock and
rap / 2004 ML3476 .V783 2004
CDs
Entertainment weekly. The greatest hits 1970-1993. 2000 MUSIC Pop/Rock 1970s .E67
Billboard top hits, 1989 (many years).
1994 MUSIC Pop/Rock 1980s .B55
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THE HISTORY OF ROCK AND POPULAR MUSIC
IN AMERICA
MUS 495, Spring 2011
Additional Listening Selections
Natalie Sarrazin, PhD
CD I
01.
02.
03.
04.
05.
06.
07.
08.
09.
10.
11.
12.
13.
14.
“Camptown Races” – Steven Foster
“Amazing Grace” – Traditional American
Symphony No. 5, I. Allegro con brio – Ludwig van Beethoven
“Barbara Allen” – Ellen Hargis and the King’s Noyse version
“Barbara Allen” – Ewan MacColl version (“Bawbee Allen”)
“Barbara Allen” – Jean Ritchie version (“Barbary Allen”)
“Barbara Allen” – Monroe Gevedon version
“Were I Laid on Greenland’s Coast”
from The Beggar’s Opera – John Gay
Washington Post March, John Philip Sousa
“Lambango” – Mande Jali, The Gambia
“Akosua Tuntum” – Traditional Akan, Ghana
“Rosie” – Traditional African-American
“Meet Me in Galilee” – Moving Star Hall Singers
Maple Leaf Rag – Scott Joplin
CD II
01.
02.
03.
04.
05.
06.
07.
08.
“Crossroad Blues” – Robert Johnson
“I’m Wild About That Thing” – Bessie Smith
Black Bottom Stomp – Ferdinand “Jelly Roll” Morton
“Alexander's Ragtime Band” – Irving Berlin
“Ol’ Man River” – Frank Sinatra
“Single Girl” – The Carter Family
“Blue Yodel” – Jimmie Rogers
“Teardrops From My Eyes” – Ruth Brown
CD III
01.
02.
03.
04.
05.
“Rock Around the Clock” – Bill Haley & His Comets
“Shake, Rattle, and Roll” – Bill Haley & His Comets
“Hound Dog” – Big Mama Thorton
“That’s All Right,” – Elvis Presley
“Great Balls of Fire” – Jerry Lee Lewis
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06.
07.
08.
09.
10.
11.
12.
“Heartbreak Hotel” – Elvis Presley
“Tutti Frutti” – Little Richard
“Roll Over Beethoven” – Chuck Berry
“Blue Moon of Kentucky” – Bill Monroe
“Maybellene” – Chuck Berry
“Oh Boy” – Buddy Holly and The Crickets
“Ain’t That A Shame” – Fats Domino
CD IV
01.
02.
03.
04.
05.
06.
07.
08.
09.
10.
“Across the Alley from the Alamo” – The Mills Brothers
“Crying in the Chapel” – The Orioles
“Why Do Fools Fall in Love” – Frankie Lymon and the Teenagers
“Sh-Boom” – The Chords
“Sh-Boom” – The Crew Cuts
“Take Good Care of My Baby” – Bobby Vee
“Will You Love Me Tomorrow” – The Shirelles
“The Loco-Motion” – Little Eva
“Da Doo Ron Ron” – The Crystals
“Be My Baby” – The Ronettes
CD V
01.
02.
03.
04.
05.
06.
07.
08.
09.
10.
11.
12.
13.
“Love Me Do” – The Beatles
“Rollin’ Stone” – Muddy Waters
“Time is On My Side” – The Rolling Stones
“Satisfaction” – The Rolling Stones
“Please, Please Me” – The Beatles
“Eleanor Rigby” – The Beatles
“Within You, Without You” – The Beatles
“A Day in the Life” – The Beatles
“Surfin’ U.S.A.” – The Beach Boys
“I Get Around” – The Beach Boys
“In My Room” – The Beach Boys
“God Only Knows” – The Beach Boys
“Good Vibrations” – The Beach Boys
CD VI
01. “Aquarius/Let the Sunshine In” – The 5th Dimension
02. “This Land is Your Land” – Woody Guthrie
03. “For What It’s Worth – Buffalo Springfield
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04.
05.
06.
07.
08.
09.
10.
11.
12.
13.
14.
“A Hard Rain’s A-Gonna Fall” – Bob Dylan
“Mr. Tambourine Man” – Bob Dylan/The Byrds
“Somebody to Love” – Jefferson Airplane
“The Music Never Stopped” – The Grateful Dead
“Ball and Chain” – Janis Joplin
“Break On Through” – The Doors
“Wild Thing” – Jimi Hendrix & the Experience
“My Generation” – The Who
“Dancing in the Streets” – Martha & the Vandellas
“Say It Loud (I’m Black and I’m Proud)” – James Brown
“Respect” – Aretha Franklin
CD VII
01.
02.
03.
04.
05.
06.
07.
08.
09.
10.
11.
12.
13.
14.
15.
“Whiter Shade of Pale” – Procul Harum
“Bohemian Rhapsody” – Queen
“More and More” – Blood Sweat, and Tears
“Thank You (Falettinme Be Mice Elf Again)” – Sly and the Family Stone
“Chocolate City” – (George Clinton’s) Parliament
“Shining Star” – Earth, Wind and Fire
“Shake Your Booty” – KC and the Sunshine Band
“Stairway to Heaven” – Led Zeppelin
“Iron Man” – Black Sabbath
“School’s Out” – Alice Cooper
“Don’t Go Breaking My Heart” – Elton John and Kiki Dee
“The Night They Went Drove Old Dixie Down” – The Band
“Sweet Home Alabama” – Lynard Skynard
“Personality Crisis” – The New York Dolls
“Anarchy in the U.K.” – The Sex Pistols
CD VIII
01.
02.
03.
04.
05.
06.
07.
08.
09.
10.
11.
“Video Killed the Radio Star” – The Buggles
“Psycho Killer” – The Talking Heads
“Whip It!” – Devo
“Material Girl” – Madonna
“Thriller” – Michael Jackson
“Sweet Dreams (Are Made of These)” – Eurythmics
“My Hometown” – Bruce Springsteen and the E Street Band
“Black or White” – Michael Jackson
“Eruption” – Van Halen
“Jump” – Van Halen
“Too Young to Fall in Love” – Mötley Crüe
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12. “Livin’ On A Prayer” – Bon Jovi
CD IX
01.
02.
03.
04.
05.
06.
07.
08.
09.
“The Message” – Grandmaster Flash & the Furious Five
“Rapper’s Delight” – Sugarhill Gang
“Rapture” – Blondie
“Walk This Way” – Run-D.M.C. with Aerosmith
“(You Gotta) Fight For Your Right (To Party)” – Beastie Boys
“Fight the Power” – Public Enemy
“Illegal Search” – L.L. Cool J
“Ladies First” – Queen Latifah with Monie Love
“Let’s Talk About Sex” – Salt ‘n’ Pepa
CD X
01.
02.
03.
04.
05.
06.
07.
08.
09.
10.
11.
12.
13.
14.
Alleluia, beatus vir qui suffert – Benedictine Monks of S. Domingo
“Heaven in the Real World” – Steven Curtis Chapman
“Smells Like Teen Spirit” – Nirvana
“Celebrity Skin” – Hole
“Tiger” – Paul Cole
“Birdhouse in Your Soul” – They Might Be Giants
“Longview” – Green Day
“Irresponsible Hate Anthem” – Marilyn Manson
“Margin Walker” – Fugazi
“No Woman, No Cry” – The Fugees
“Bustin’ Loose, Part I” – Chuck Brown and The Soul Searchers
O Superman – Laurie Anderson
“Godspeed” – BT
“Natural Blues” – Moby
CD XI
01.
02.
03.
04.
05.
06.
07.
08.
“Clementine” – the Batwa people (Zaire)
“If I Were A Groupie” – The Pizzicato Five (Japan)
“Superstar” – S.H.E. (China)
“Flying” – Cui Jian (China)
Nhemamusasa (Cutting Branches for Shelter) – trad. Shona (Zimbabwe)
“Nyarai” (“Be Ashamed”) – Thomas Mapfumo (Zimbabwe)
“Kaahe Chede Mohe” (“Are You Flirting with Me?”) – (India)
“Corrido de la Soberbia” (“Ballad of Arrogance”) – Inti Illimani (Chile)
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09. Uluru Sunrise – trad. Yolngu (Australia)
10. “Djäpana” (“Sunset Dreaming”) – Yothu Yindi (Australia)
11. “Yardım Et” – Mor ve Ötesi (Turkey)
ADDITIONAL WORK FOR SWING COURSE
Graduate students will be required to read all of the additional readings including a
number of readings from the reserve list.
Graduate research papers will be more in-depth in terms of focus and use of a particular
ethnomusicological or sociological perspective, and will require more analysis,
description, and use of source materials. Graudate papers will be a minimum of 15-20
pages in length.
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