Popular Music in the U.S.A, Updated Edition, 6th Edition Class Notes
Popular Music in the U.S.A, Updated Edition, 6th Edition Class Notes helps you review course material quickly and effectively.
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i
Instructors Manual and Test Bank
for
Rockin’ Out
Sixth Edition Update
by
Reebee Garofalo and Steven Waksman
Instructors Manual and Test Bank
for
Rockin’ Out
Sixth Edition Update
by
Reebee Garofalo and Steven Waksman
iv
Table of Contents
Using the Instructor’s Manual vi
Introduction Instructors Manual 1
Test Bank 74
Chapter 1 Instructors Manual 5
Test Bank 80
Chapter 2 Instructors Manual 9
Test Bank 86
Chapter 3 Instructors Manual 13
Test Bank 92
Chapter 4 Instructors Manual 18
Test Bank 98
Chapter 5 Instructors Manual 23
Test Bank 104
Chapter 6 Instructors Manual 28
Test Bank 110
Chapter 7 Instructors Manual 35
Test Bank 116
Chapter 8 Instructors Manual 43
Test Bank 122
Chapter 9 Instructors Manual 50
Test Bank 128
Chapter 10 Instructors Manual 55
Test Bank 134
Table of Contents
Using the Instructor’s Manual vi
Introduction Instructors Manual 1
Test Bank 74
Chapter 1 Instructors Manual 5
Test Bank 80
Chapter 2 Instructors Manual 9
Test Bank 86
Chapter 3 Instructors Manual 13
Test Bank 92
Chapter 4 Instructors Manual 18
Test Bank 98
Chapter 5 Instructors Manual 23
Test Bank 104
Chapter 6 Instructors Manual 28
Test Bank 110
Chapter 7 Instructors Manual 35
Test Bank 116
Chapter 8 Instructors Manual 43
Test Bank 122
Chapter 9 Instructors Manual 50
Test Bank 128
Chapter 10 Instructors Manual 55
Test Bank 134
iv
Table of Contents
Using the Instructor’s Manual vi
Introduction Instructors Manual 1
Test Bank 74
Chapter 1 Instructors Manual 5
Test Bank 80
Chapter 2 Instructors Manual 9
Test Bank 86
Chapter 3 Instructors Manual 13
Test Bank 92
Chapter 4 Instructors Manual 18
Test Bank 98
Chapter 5 Instructors Manual 23
Test Bank 104
Chapter 6 Instructors Manual 28
Test Bank 110
Chapter 7 Instructors Manual 35
Test Bank 116
Chapter 8 Instructors Manual 43
Test Bank 122
Chapter 9 Instructors Manual 50
Test Bank 128
Chapter 10 Instructors Manual 55
Test Bank 134
Table of Contents
Using the Instructor’s Manual vi
Introduction Instructors Manual 1
Test Bank 74
Chapter 1 Instructors Manual 5
Test Bank 80
Chapter 2 Instructors Manual 9
Test Bank 86
Chapter 3 Instructors Manual 13
Test Bank 92
Chapter 4 Instructors Manual 18
Test Bank 98
Chapter 5 Instructors Manual 23
Test Bank 104
Chapter 6 Instructors Manual 28
Test Bank 110
Chapter 7 Instructors Manual 35
Test Bank 116
Chapter 8 Instructors Manual 43
Test Bank 122
Chapter 9 Instructors Manual 50
Test Bank 128
Chapter 10 Instructors Manual 55
Test Bank 134
v
Chapter 11 Instructors Manual 60
Test Bank 139
Chapter 12 Instructors Manual 68
Test Bank 145
Chapter 11 Instructors Manual 60
Test Bank 139
Chapter 12 Instructors Manual 68
Test Bank 145
vi
Using the Instructor’s Manual
• Outline
The outline provides the salient points of each section of the book.
• Suggested activities
Suggested Activities provide you with ideas that will help you to encourage your students to
work independently or in groups. They are intended to help students creatively explore ideas and
relate to them in a more personal way. They are designed to help students to interact with the
music in as many ways as possible through research, listening, clapping, writing, singing, and
dancing.
• Discussion Questions
Discussion Questions are suggested ways to open dialogues with your students. These are
focused on the implications of the ideas in the text and how they relate to the students’ present-
day experiences. Special attention is paid to how concepts in the book relate to each other.
• Recommended Listening
Recommended Listening lists are a mixture of well-known and obscure examples. Listening is
the most important part of this course, so find ways to have your students listen in as many ways
as possible. These ways would include listening for a particular instrument, a change in feel, a
section of a song, the quality of singers’ voices, a signature studio sound, or the identity of a
sample. The possibilities are endless.
Using the Instructor’s Manual
• Outline
The outline provides the salient points of each section of the book.
• Suggested activities
Suggested Activities provide you with ideas that will help you to encourage your students to
work independently or in groups. They are intended to help students creatively explore ideas and
relate to them in a more personal way. They are designed to help students to interact with the
music in as many ways as possible through research, listening, clapping, writing, singing, and
dancing.
• Discussion Questions
Discussion Questions are suggested ways to open dialogues with your students. These are
focused on the implications of the ideas in the text and how they relate to the students’ present-
day experiences. Special attention is paid to how concepts in the book relate to each other.
• Recommended Listening
Recommended Listening lists are a mixture of well-known and obscure examples. Listening is
the most important part of this course, so find ways to have your students listen in as many ways
as possible. These ways would include listening for a particular instrument, a change in feel, a
section of a song, the quality of singers’ voices, a signature studio sound, or the identity of a
sample. The possibilities are endless.
1
Rockin' Out: Popular Music in the U.S.A.
Introduction: Definitions, Themes, and Issues
Outline
I: Introduction: Definitions, Themes, and Issues
a. Popular music must be considered within its social and historical context.
b. Quantitative measures of popularity are necessary in its analysis.
c. Blackface minstrelsy exemplifies the fundamental role of race and racism in American
popular music.
d. The pivotal moment was the emergence of rock ‘n’ roll in the 1950s, as the transition
from Tin Pan Alley pop to rock ‘n’ roll.
I.1: Popular Music and Mass Culture
I.1: Distinguish between popular culture and mass culture in the cultural lexicon of the
mid-twentieth century
a. Tin Pan Alley is a descendent of European culture.
b. Among three tiers of music—folk, popular and classical—it was an example of
the newly created popular realm.
c. It combined elements of high and low culture.
I.1.1: Technology Makes Mass Culture Possible
a. Mass culture was commoditized corporate industry rather than a step in the
continuum of popular culture.
b. Rock was both a popular music and a mass cultural form.
c. It did away with the importance of discussions of high vs. low culture.
I.2: The Birth of a New Era
I.2: Assess the qualities of rock and roll that made it the most popular form of mass
culture
a. The emergence of rock ‘n’ roll as a genre coincided with the beginnings of
youth culture as a phenomenon.
b. The emergence of the Beatles completed the creation of a dominant youth
market.
I.2.1: New Technologies, New Sounds
a. Rock ‘n’ roll coincided with changes in the manner in which the electric
guitar was played and the kinds of sounds that it was used to create.
b. Through multiple track recording, sound recording became a creative
avenue in its own right.
c. Music became organized sound rather than a mere pattern of notes.
I.2.2: Going Against the Musical Grain
Rockin' Out: Popular Music in the U.S.A.
Introduction: Definitions, Themes, and Issues
Outline
I: Introduction: Definitions, Themes, and Issues
a. Popular music must be considered within its social and historical context.
b. Quantitative measures of popularity are necessary in its analysis.
c. Blackface minstrelsy exemplifies the fundamental role of race and racism in American
popular music.
d. The pivotal moment was the emergence of rock ‘n’ roll in the 1950s, as the transition
from Tin Pan Alley pop to rock ‘n’ roll.
I.1: Popular Music and Mass Culture
I.1: Distinguish between popular culture and mass culture in the cultural lexicon of the
mid-twentieth century
a. Tin Pan Alley is a descendent of European culture.
b. Among three tiers of music—folk, popular and classical—it was an example of
the newly created popular realm.
c. It combined elements of high and low culture.
I.1.1: Technology Makes Mass Culture Possible
a. Mass culture was commoditized corporate industry rather than a step in the
continuum of popular culture.
b. Rock was both a popular music and a mass cultural form.
c. It did away with the importance of discussions of high vs. low culture.
I.2: The Birth of a New Era
I.2: Assess the qualities of rock and roll that made it the most popular form of mass
culture
a. The emergence of rock ‘n’ roll as a genre coincided with the beginnings of
youth culture as a phenomenon.
b. The emergence of the Beatles completed the creation of a dominant youth
market.
I.2.1: New Technologies, New Sounds
a. Rock ‘n’ roll coincided with changes in the manner in which the electric
guitar was played and the kinds of sounds that it was used to create.
b. Through multiple track recording, sound recording became a creative
avenue in its own right.
c. Music became organized sound rather than a mere pattern of notes.
I.2.2: Going Against the Musical Grain
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2
a. Rock ‘n’ roll did not adhere to the traditional parameters of musicological
analysis.
b. Coming from an African tradition, its foundation was rhythmic.
c. Its repertoire of pitch and rhythm effects belied its harmonic simplicity.
I.2.3: Rock ‘n’ Roll Hybridity
a. Since the advent of rock ‘n’ roll, there has been a continuing debate
regarding the relative proportions of African American and European
American influences in popular music.
b. This debate is exemplified in the music of Elvis Presley, Chuck Berry, and
doo-wop groups among countless others.
I.3: Marketing and the Politics of Race, Language, and Gender
I.3: Evaluate the racial, language, and gender barriers that limited the development of
musicians who were not white men
a. The marketing categories of the music industry have often classified
performers as much by race as by musical style.
b. Only after WWII did the categories begin to loosen.
I.3.1: Crossing Over
a. Historically the term connoted movement from a marginal marketing
category to the mainstream.
b. The term “rhythm and blues” was coined as a crossover replacement for the
term “race music”
I.3.2: Racial Categories and Musical Classification
a. The identification of music with race masks the amount of cross-cultural
collaboration that has actually taken place.
b. Rap has pushed African American styles more to the center of the
commercial mainstream than it has ever been.
I.3.3: No Hablamos Español: The Language Barrier
a. The language barrier is even more intractable than the race barrier.
b. As a result, artists who might sing in other languages feel compelled to
record in English when they approach the U.S. market.
I.3.4: The Long, Hard Climb: Gender Discrimination
a. Women performers have often been pressured by the industry to assume
personas based on the stereotypes of angel and baby to earth mother and
sex goddess to bitch and “ho.”
b. Technical processes such as record producing, engineering, mixing, and
mastering are still overwhelmingly male dominated.
c. More recently, artists like Madonna and Lady Gaga have moved the
barriers slightly.
a. Rock ‘n’ roll did not adhere to the traditional parameters of musicological
analysis.
b. Coming from an African tradition, its foundation was rhythmic.
c. Its repertoire of pitch and rhythm effects belied its harmonic simplicity.
I.2.3: Rock ‘n’ Roll Hybridity
a. Since the advent of rock ‘n’ roll, there has been a continuing debate
regarding the relative proportions of African American and European
American influences in popular music.
b. This debate is exemplified in the music of Elvis Presley, Chuck Berry, and
doo-wop groups among countless others.
I.3: Marketing and the Politics of Race, Language, and Gender
I.3: Evaluate the racial, language, and gender barriers that limited the development of
musicians who were not white men
a. The marketing categories of the music industry have often classified
performers as much by race as by musical style.
b. Only after WWII did the categories begin to loosen.
I.3.1: Crossing Over
a. Historically the term connoted movement from a marginal marketing
category to the mainstream.
b. The term “rhythm and blues” was coined as a crossover replacement for the
term “race music”
I.3.2: Racial Categories and Musical Classification
a. The identification of music with race masks the amount of cross-cultural
collaboration that has actually taken place.
b. Rap has pushed African American styles more to the center of the
commercial mainstream than it has ever been.
I.3.3: No Hablamos Español: The Language Barrier
a. The language barrier is even more intractable than the race barrier.
b. As a result, artists who might sing in other languages feel compelled to
record in English when they approach the U.S. market.
I.3.4: The Long, Hard Climb: Gender Discrimination
a. Women performers have often been pressured by the industry to assume
personas based on the stereotypes of angel and baby to earth mother and
sex goddess to bitch and “ho.”
b. Technical processes such as record producing, engineering, mixing, and
mastering are still overwhelmingly male dominated.
c. More recently, artists like Madonna and Lady Gaga have moved the
barriers slightly.
Loading page 7...
3
I.4: Regulating Popular Music
I.4: Analyze how popular music has become the ideological battlefield on which
struggles for power, values, and identities take place
a. Popular music often serves as a lightning rod for the political controversies
that invariably accompany change.
b. Tin Pan Alley was accused of depravity.
c. Throughout the second half of the twentieth century, popular music was
connected quite explicitly with social change and political controversy.
d. In the 1980s and 1990s, the custodians of culture became convinced that
rap and heavy metal had gone too far.
Suggested Activities
1. Have students bring in examples of current songs that might be considered examples of
cultural appropriation.
2. Have students do an Internet search for artists who refuse to have their work on streaming
sites such as Spotify. Report findings to the class.
3. Play the YouTube video of Jimi Hendrix playing The Star Spangled Banner. Put students in
groups of 3 and have them list the ways that Hendrix uses his guitar to produce “extra-
musical” sounds.
https://www.youtube.com/watch?v=TKAwPA14Ni4
4. Have students bring in examples of recordings by women playing instruments on rock ‘n’
roll or blues songs.
5. Play the studio version of the Beach Boys’ Good Vibrations.
https://www.google.com/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-
8#q=good%20vibrations%20beach%20boys
Have students predict the differences in what the live version would be like. Then play the
live version.
https://www.youtube.com/watch?v=LVKCRpOewco
Are there any surprises, or was it what they suspected?
I.4: Regulating Popular Music
I.4: Analyze how popular music has become the ideological battlefield on which
struggles for power, values, and identities take place
a. Popular music often serves as a lightning rod for the political controversies
that invariably accompany change.
b. Tin Pan Alley was accused of depravity.
c. Throughout the second half of the twentieth century, popular music was
connected quite explicitly with social change and political controversy.
d. In the 1980s and 1990s, the custodians of culture became convinced that
rap and heavy metal had gone too far.
Suggested Activities
1. Have students bring in examples of current songs that might be considered examples of
cultural appropriation.
2. Have students do an Internet search for artists who refuse to have their work on streaming
sites such as Spotify. Report findings to the class.
3. Play the YouTube video of Jimi Hendrix playing The Star Spangled Banner. Put students in
groups of 3 and have them list the ways that Hendrix uses his guitar to produce “extra-
musical” sounds.
https://www.youtube.com/watch?v=TKAwPA14Ni4
4. Have students bring in examples of recordings by women playing instruments on rock ‘n’
roll or blues songs.
5. Play the studio version of the Beach Boys’ Good Vibrations.
https://www.google.com/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-
8#q=good%20vibrations%20beach%20boys
Have students predict the differences in what the live version would be like. Then play the
live version.
https://www.youtube.com/watch?v=LVKCRpOewco
Are there any surprises, or was it what they suspected?
Loading page 8...
4
Discussion questions
1. Play a YouTube video for the class of Al Jolson singing “Mammy.” Then play Iggy Azalea
singing “Fancy.” What connects these two videos?
2. It what ways did rock ‘n’ roll both break down and support racial barriers?
3. In the 20th century, mass culture was driven by the mass production of sheet music, records,
and radio. What drives mass culture now? What do you think will drive it in the future?
4. Is there still a place for “popular” as opposed to “mass” culture?
5. What are some examples of current ways (such as auto-tune) in which technology
influences music making?
6. Play a version of Ray Charles’ “I Can’t Stop Loving You” for the class. Is there anything
you hear that signals the race of the singer?
7. How far is “too far” when it comes to music and videos portraying subjects like sex and
violence? Is there a line you believe cannot be crossed?
8. Why do you think it is that songs sung in English are popular in other countries, but non-
English hit songs are rare in the U.S.?
Suggested Listening
1. Tonight We Love by Ray Austin and Bobby Worth
2. Lover by Les Paul
3. Maybellene by Chuck Berry
4. Mona by Bo Diddley
Discussion questions
1. Play a YouTube video for the class of Al Jolson singing “Mammy.” Then play Iggy Azalea
singing “Fancy.” What connects these two videos?
2. It what ways did rock ‘n’ roll both break down and support racial barriers?
3. In the 20th century, mass culture was driven by the mass production of sheet music, records,
and radio. What drives mass culture now? What do you think will drive it in the future?
4. Is there still a place for “popular” as opposed to “mass” culture?
5. What are some examples of current ways (such as auto-tune) in which technology
influences music making?
6. Play a version of Ray Charles’ “I Can’t Stop Loving You” for the class. Is there anything
you hear that signals the race of the singer?
7. How far is “too far” when it comes to music and videos portraying subjects like sex and
violence? Is there a line you believe cannot be crossed?
8. Why do you think it is that songs sung in English are popular in other countries, but non-
English hit songs are rare in the U.S.?
Suggested Listening
1. Tonight We Love by Ray Austin and Bobby Worth
2. Lover by Les Paul
3. Maybellene by Chuck Berry
4. Mona by Bo Diddley
Loading page 9...
5
Rockin' Out: Popular Music in the U.S.A.
Chapter 1: Constructing Tin Pan Alley
Outline
1.1: Minstrelsy and the Making of Mainstream U.S. Culture
1.1: Describe minstrelsy, where white performers appropriated qualities of
blackness for their own economic and cultural gain to the amusement of
white onlookers
a. The initial audiences for blackface minstrelsy tended to be white, working
class, and male.
b. Blackface dates back at least to the Middle Ages in Britain and Europe in
certain ritual dramas such as morris dancing and mummer’s plays.
c. Rituals of West African origin involving parading, reveling, and grotesque
masking that worked their way to the “New World” during the slave trade.
d. Thomas Dartmouth Rice is credited with institutionalizing the practice of
racial impersonation through his character “Jim Crow.”
1.1.1: Minstrelsy Comes into its Own
a. In the 1840s the genre began to take shape as a self-contained ensemble
performance of its own.
b. By 1890 nearly one hundred minstrel groups could be identified.
c. African American performers also performed.
1.2: Sheet Music, Sound Recording, and the Sounds of Music
1.2: Explain how the music industry came to be driven by sales of sheet music and
then by sales of recorded sound
a. After the Civil War, minstrelsy was replaced by vaudeville.
b. Sheet music was the main vehicle for the mass dissemination of music.
1.2.1: Musical Reproduction Dominates Sound Recording
a. Edison’s phonograph was not intended for music.
b. The cylindrical graphophone performed better.
c. The companies’ manufacturing prerecorded cylinders grew independently
of Tin Pan Alley.
1.2.2: Sound Recording Takes a New Turn
a. With the establishment of the Victor Talking Machine Company, flat discs
began their dominance of the recording industry until the radio era.
1.2.3: Cultural Hierarchies in the Golden Age of Acoustic Recording
a. Early in the 20th century the sales of discs vs. cylinders expressed the
fragmentation of the public along class, geographical and racial lines.
Rockin' Out: Popular Music in the U.S.A.
Chapter 1: Constructing Tin Pan Alley
Outline
1.1: Minstrelsy and the Making of Mainstream U.S. Culture
1.1: Describe minstrelsy, where white performers appropriated qualities of
blackness for their own economic and cultural gain to the amusement of
white onlookers
a. The initial audiences for blackface minstrelsy tended to be white, working
class, and male.
b. Blackface dates back at least to the Middle Ages in Britain and Europe in
certain ritual dramas such as morris dancing and mummer’s plays.
c. Rituals of West African origin involving parading, reveling, and grotesque
masking that worked their way to the “New World” during the slave trade.
d. Thomas Dartmouth Rice is credited with institutionalizing the practice of
racial impersonation through his character “Jim Crow.”
1.1.1: Minstrelsy Comes into its Own
a. In the 1840s the genre began to take shape as a self-contained ensemble
performance of its own.
b. By 1890 nearly one hundred minstrel groups could be identified.
c. African American performers also performed.
1.2: Sheet Music, Sound Recording, and the Sounds of Music
1.2: Explain how the music industry came to be driven by sales of sheet music and
then by sales of recorded sound
a. After the Civil War, minstrelsy was replaced by vaudeville.
b. Sheet music was the main vehicle for the mass dissemination of music.
1.2.1: Musical Reproduction Dominates Sound Recording
a. Edison’s phonograph was not intended for music.
b. The cylindrical graphophone performed better.
c. The companies’ manufacturing prerecorded cylinders grew independently
of Tin Pan Alley.
1.2.2: Sound Recording Takes a New Turn
a. With the establishment of the Victor Talking Machine Company, flat discs
began their dominance of the recording industry until the radio era.
1.2.3: Cultural Hierarchies in the Golden Age of Acoustic Recording
a. Early in the 20th century the sales of discs vs. cylinders expressed the
fragmentation of the public along class, geographical and racial lines.
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6
b. Tin Pan Alley and the recording industry effectively developed as separate
industries largely due to Tin Pan Alley’s reliance on songwriting and
publishing.
1.3: Tin Pan Alley Creates Musical Tradition
1.3: Identify the various music forms that Tin Pan Alley came to be associated with
a. Tin Pan Alley centralized the U.S. popular music business during the
ascendancy of vaudeville.
b. Irving Berlin was the most prolific and popular composer of the era.
1.3.1: Tin Pan Alley Incorporates Ragtime
a. Connections between Tin Pan Alley and ragtime exemplified the
inequitable pattern of cultural borrowing and economic reward in American
popular music.
b. For Tin Pan Alley, ragtime was a craze to be incorporated into popular
song.
1.3.2: Blacks, Whites, and the Blues
a. Unlike ragtime, the blues preserved the original patterns of African music.
b. W. C. Handy was one of the first songwriters to bring the
blues into the world of popular composition.
c. Blues songs comprising the “blues craze” that swept the
country in the second decade of the twentieth century were
actually watered-down versions of the blues.
1.3.3: Jazz Enters the Mainstream
a. Early appropriations of jazz created the impression among mainstream
listeners that jazz was the product of “polite society” white dance bands.
b. George Gershwin’s identification with jazz was the exception to the rule
that Tin Pan Alley was isolationist toward black music.
1.3.4: Dance Crazes, Latin Influences, Musical Theater, and Records
a. The Copyright Act of 1909 brought Tin Pan Alley in closer association to
the recording industry.
b. The dance team of Vernon and Irene Castle brought the “Latin tinge” to
America via the tango.
c. James Reese Europe led the first black jazz orchestra to be awarded a
recording contract.
d. Black artists were routinely excluded from ASCAP, and were thereby
denied copyright protection.
b. Tin Pan Alley and the recording industry effectively developed as separate
industries largely due to Tin Pan Alley’s reliance on songwriting and
publishing.
1.3: Tin Pan Alley Creates Musical Tradition
1.3: Identify the various music forms that Tin Pan Alley came to be associated with
a. Tin Pan Alley centralized the U.S. popular music business during the
ascendancy of vaudeville.
b. Irving Berlin was the most prolific and popular composer of the era.
1.3.1: Tin Pan Alley Incorporates Ragtime
a. Connections between Tin Pan Alley and ragtime exemplified the
inequitable pattern of cultural borrowing and economic reward in American
popular music.
b. For Tin Pan Alley, ragtime was a craze to be incorporated into popular
song.
1.3.2: Blacks, Whites, and the Blues
a. Unlike ragtime, the blues preserved the original patterns of African music.
b. W. C. Handy was one of the first songwriters to bring the
blues into the world of popular composition.
c. Blues songs comprising the “blues craze” that swept the
country in the second decade of the twentieth century were
actually watered-down versions of the blues.
1.3.3: Jazz Enters the Mainstream
a. Early appropriations of jazz created the impression among mainstream
listeners that jazz was the product of “polite society” white dance bands.
b. George Gershwin’s identification with jazz was the exception to the rule
that Tin Pan Alley was isolationist toward black music.
1.3.4: Dance Crazes, Latin Influences, Musical Theater, and Records
a. The Copyright Act of 1909 brought Tin Pan Alley in closer association to
the recording industry.
b. The dance team of Vernon and Irene Castle brought the “Latin tinge” to
America via the tango.
c. James Reese Europe led the first black jazz orchestra to be awarded a
recording contract.
d. Black artists were routinely excluded from ASCAP, and were thereby
denied copyright protection.
Loading page 11...
7
1.4: Commercial Broadcasting and Private Enterprise
1.4: Explain the growth of commercial radio broadcasting
a. Two years after the advent of commercial radio broadcasting in 1920,
annual record revenues showed a decline.
1.4.1: The Growth of Network Radio
a. RCA was set up as a holding company for the major radio patent holders in
the United States.
b. Radio developed as a private entity with NBC and CBS locking up most
available channels.
1.4.2: The Advertisers Versus the Programmers
a. Early radio broadcasters clashed with advertisers over radio content.
b. Great Depression put the advertisers in a position to determine the tone of
radio more than the programmers.
1.5: Tin Pan Alley Goes Hollywood . . . and Latin
1.5: Summarize the major role played by Tin Pan Alley compositions in Hollywood
and especially in Latin-themed films
a. The success of 1929’s Broadway Melody, released in 1929, made it clear
that Tin Pan Alley compositions would play a major role in talking films.
b. The rise of musicals led to the success of Bing Crosby and his “crooner”
style.
1.5.1: The Latin Tinge Colors U.S. Popular Music and Film
a. The Good Neighbor policy toward Latin America led to exposure to Latin
styles (albeit confused) and Latin performers.
b. The Tin Pan Alley writers who contributed to the “latune songbook”
included luminaries such as George Gershwin and Irving Berlin.
Suggested activities
1. Have students research early 20th century sheet music and bring in examples of blackface
and other racist images from the covers.
2. Play Scott Joplin’s Maple Leaf Rag for the class. Juxtapose it with a version of Berlin’s Stop
Dat Rag.
https://www.youtube.com/watch?v=9AJtM5Rip9I
Discuss the differences and similarities between the two pieces.
1.4: Commercial Broadcasting and Private Enterprise
1.4: Explain the growth of commercial radio broadcasting
a. Two years after the advent of commercial radio broadcasting in 1920,
annual record revenues showed a decline.
1.4.1: The Growth of Network Radio
a. RCA was set up as a holding company for the major radio patent holders in
the United States.
b. Radio developed as a private entity with NBC and CBS locking up most
available channels.
1.4.2: The Advertisers Versus the Programmers
a. Early radio broadcasters clashed with advertisers over radio content.
b. Great Depression put the advertisers in a position to determine the tone of
radio more than the programmers.
1.5: Tin Pan Alley Goes Hollywood . . . and Latin
1.5: Summarize the major role played by Tin Pan Alley compositions in Hollywood
and especially in Latin-themed films
a. The success of 1929’s Broadway Melody, released in 1929, made it clear
that Tin Pan Alley compositions would play a major role in talking films.
b. The rise of musicals led to the success of Bing Crosby and his “crooner”
style.
1.5.1: The Latin Tinge Colors U.S. Popular Music and Film
a. The Good Neighbor policy toward Latin America led to exposure to Latin
styles (albeit confused) and Latin performers.
b. The Tin Pan Alley writers who contributed to the “latune songbook”
included luminaries such as George Gershwin and Irving Berlin.
Suggested activities
1. Have students research early 20th century sheet music and bring in examples of blackface
and other racist images from the covers.
2. Play Scott Joplin’s Maple Leaf Rag for the class. Juxtapose it with a version of Berlin’s Stop
Dat Rag.
https://www.youtube.com/watch?v=9AJtM5Rip9I
Discuss the differences and similarities between the two pieces.
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8
3. Have students research a typical radio playlist from 1930. Put them in groups of four to
select 2 or 3 songs to share with the class. Have one of them act as the DJ to introduce the
songs and perhaps provide some banter related to the era.
Discussion Questions
1. How are cultural stereotypes expressed in the music of the modern era? Is there still some
version of blackface going on today?
2. How was Tin Pan Alley able to thrive in the absence of a close relationship with the
recording industry?
3. Discuss the distinction between music for “polite society” and “low culture” music as it
existed in the early teens and 20s. Is there still room for such a distinction now?
4. How much control should advertisers have over the musical content they sponsor?
Recommended Listening
“Alexander’s Ragtime Band”
Artist: Bessie Smith
Music/Lyrics by Irving Berlin (published 1911)
Label: Columbia (1927)
3. Have students research a typical radio playlist from 1930. Put them in groups of four to
select 2 or 3 songs to share with the class. Have one of them act as the DJ to introduce the
songs and perhaps provide some banter related to the era.
Discussion Questions
1. How are cultural stereotypes expressed in the music of the modern era? Is there still some
version of blackface going on today?
2. How was Tin Pan Alley able to thrive in the absence of a close relationship with the
recording industry?
3. Discuss the distinction between music for “polite society” and “low culture” music as it
existed in the early teens and 20s. Is there still room for such a distinction now?
4. How much control should advertisers have over the musical content they sponsor?
Recommended Listening
“Alexander’s Ragtime Band”
Artist: Bessie Smith
Music/Lyrics by Irving Berlin (published 1911)
Label: Columbia (1927)
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Rockin' Out: Popular Music in the U.S.A.
Chapter 2: The Segregation of Popular Music
Outline
Introduction
a. Before recording, music companies did not differentiate their audience.
b. Musics that enjoyed considerable overlap in cultural terms have been documented and
discussed as if they had separate histories.
2.1: Blues, Jazz, and Country
2.1: Describe multicultural influences in blues, jazz, and country
a. The terms hillbilly and race separated musics more in terms of the color of
the musician than the style.
b. The blues were fundamentally African American, originating in field
hollers and African call-and-response.
c. Jazz combined improvisatory blues styles with the notated tradition of
syncopated rags.
2.1.1: The Multi-Ethnic Roots of Country
a. The fiddle was a central binding agent in country music, which was
influenced by a wide variety of cultures.
b. Despite its African derivation the banjo became progressively less
identified with black musical styles over time.
c. The guitar was simultaneously used by black and white musicians. As a
blues instrument, its vocal qualities were developed.
2.1.2: Crossing the Racial Divide
a. Folkloric musical characters also cut across racial lines.
b. Segregated groups were often placed in the opposite racial marketing
category because they “sounded” white or black.
2.2: Race Music and the Segregation of Sound
2.2: Summarize the careers of prominent musicians of the race-music genre
2.2.1: The Birth of the Blues
a. Early blues can be divided into “country blues” and “classic blues.”
b. The era of women blues singers began with the recording of “Crazy Blues”
by Mamie Smith in 1920.
c. The surge of classic blues was followed by more recordings of country
blues artists like Blind Lemon Jefferson.
d. Field recordings brought wider recognition for country blues artists like
Robert Johnson.
Rockin' Out: Popular Music in the U.S.A.
Chapter 2: The Segregation of Popular Music
Outline
Introduction
a. Before recording, music companies did not differentiate their audience.
b. Musics that enjoyed considerable overlap in cultural terms have been documented and
discussed as if they had separate histories.
2.1: Blues, Jazz, and Country
2.1: Describe multicultural influences in blues, jazz, and country
a. The terms hillbilly and race separated musics more in terms of the color of
the musician than the style.
b. The blues were fundamentally African American, originating in field
hollers and African call-and-response.
c. Jazz combined improvisatory blues styles with the notated tradition of
syncopated rags.
2.1.1: The Multi-Ethnic Roots of Country
a. The fiddle was a central binding agent in country music, which was
influenced by a wide variety of cultures.
b. Despite its African derivation the banjo became progressively less
identified with black musical styles over time.
c. The guitar was simultaneously used by black and white musicians. As a
blues instrument, its vocal qualities were developed.
2.1.2: Crossing the Racial Divide
a. Folkloric musical characters also cut across racial lines.
b. Segregated groups were often placed in the opposite racial marketing
category because they “sounded” white or black.
2.2: Race Music and the Segregation of Sound
2.2: Summarize the careers of prominent musicians of the race-music genre
2.2.1: The Birth of the Blues
a. Early blues can be divided into “country blues” and “classic blues.”
b. The era of women blues singers began with the recording of “Crazy Blues”
by Mamie Smith in 1920.
c. The surge of classic blues was followed by more recordings of country
blues artists like Blind Lemon Jefferson.
d. Field recordings brought wider recognition for country blues artists like
Robert Johnson.
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2.2.2: All That Jazz
a. The New Orleans mixture of styles that became jazz started in New
Orleans at the turn of the century with Buddy Bolden.
b. In 1914 the New Orleans style of syncopated dance music spread across the
nation.
c. Fletcher Henderson was credited with inaugurating the “big band” era of
jazz in New York in the mid 20s.
d. Duke Ellington began his rise at the Cotton Club in the late 20s.
e. Count Basie’s band remained committed to the dance orientation that
paved the way for rhythm and blues and rock ‘n’ roll.
2.3: Hillbilly Music and the White Working Class
2.3: Describe the success of hillbilly music and the musicians who popularized it
a. Hillbilly music suffered and profited from a conflicting set of images held
by Americans that ranged from stability and enchantment to decadence and
cultural degeneracy.
b. The Carter Family explored the traditional folkloric component of country
music.
c. Jimmy Rodgers represented the archetypal “ramblin’ man.”
2.3.1: The First Country Star
a. Rodgers performed across racial lines and with Hawaiian steel guitarists.
b. He influenced a generation of country musicians.
2.4: Disseminating Blues, Jazz, and Country
2.4: Explain the temporary decline in popularity of blues and jazz vis à vis country
music in the early twentieth century.
a. Broadcasters and film producers in the late 20s and 30s favored country
musicians over blues and jazz.
b. Radio featured mainstream tastes, not grittier forms of music.
c. Eventually, the Grand Ole Opry overshadowed all other country
broadcasts.
d. Western motifs and the “singing cowboy” image became prevalent.
e. Country’s cultural mixing paved the way for Rock ‘n’ Roll.
2.5: The Long Road Back for Records
2.5: Describe the role of the jukebox and other technological advances in bringing the
record industry back to its earlier levels of prosperity
a. After the Depression, bars and nightclubs began using jukeboxes leading to
a mass audience for records.
b. In 1932, the Duo Jr., a record player that could run through a radio, was
marketed.
c. Columbia producer John Hammond brought a diverse array of talent into
the recording studio, influencing the music world in significant ways.
2.2.2: All That Jazz
a. The New Orleans mixture of styles that became jazz started in New
Orleans at the turn of the century with Buddy Bolden.
b. In 1914 the New Orleans style of syncopated dance music spread across the
nation.
c. Fletcher Henderson was credited with inaugurating the “big band” era of
jazz in New York in the mid 20s.
d. Duke Ellington began his rise at the Cotton Club in the late 20s.
e. Count Basie’s band remained committed to the dance orientation that
paved the way for rhythm and blues and rock ‘n’ roll.
2.3: Hillbilly Music and the White Working Class
2.3: Describe the success of hillbilly music and the musicians who popularized it
a. Hillbilly music suffered and profited from a conflicting set of images held
by Americans that ranged from stability and enchantment to decadence and
cultural degeneracy.
b. The Carter Family explored the traditional folkloric component of country
music.
c. Jimmy Rodgers represented the archetypal “ramblin’ man.”
2.3.1: The First Country Star
a. Rodgers performed across racial lines and with Hawaiian steel guitarists.
b. He influenced a generation of country musicians.
2.4: Disseminating Blues, Jazz, and Country
2.4: Explain the temporary decline in popularity of blues and jazz vis à vis country
music in the early twentieth century.
a. Broadcasters and film producers in the late 20s and 30s favored country
musicians over blues and jazz.
b. Radio featured mainstream tastes, not grittier forms of music.
c. Eventually, the Grand Ole Opry overshadowed all other country
broadcasts.
d. Western motifs and the “singing cowboy” image became prevalent.
e. Country’s cultural mixing paved the way for Rock ‘n’ Roll.
2.5: The Long Road Back for Records
2.5: Describe the role of the jukebox and other technological advances in bringing the
record industry back to its earlier levels of prosperity
a. After the Depression, bars and nightclubs began using jukeboxes leading to
a mass audience for records.
b. In 1932, the Duo Jr., a record player that could run through a radio, was
marketed.
c. Columbia producer John Hammond brought a diverse array of talent into
the recording studio, influencing the music world in significant ways.
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11
Recommended Activities
1. Play this video for the class of June Carter singing:
https://www.youtube.com/watch?v=hoUn1ffpKsA
Play a bit of the banter. At 5:47 June sings a song. Ask them what kind of music this is.
Have everyone write down one word on a piece of paper. It’s actually a typical blues form
with a bridge. How many say country? Discuss the implications of this.
2. Put students in groups of three. They will write the words to a classic blues in the style of
Bessie Smith. This means a 4-bar phrase that is repeated, followed by another phrase in an
aab rhyme scheme. Have each group write the a phrase. Then have each group pass their
words to the next group. This group will write the b phrase. Pass it along. The third group
will assign melody to the words. One or more student from each group will perform the
song for the class.
Discussion Questions
1. Is it possible to talk about popular music without using terms that were employed to
segregate music to sell to different audiences? What kind of terminology would you use?
2. From Electro-Rock to Air Pop, there are many new musical terms out there today. Ask
students to list musical designations that exist for genres of music today. How fine can they
slice it?
3. Have students listen to Robert Johnson’s Me and the Devil Blues
https://www.youtube.com/watch?v=3MCHI23FTP8
Now listen to Blind Lemon Jefferson’s Black Snake Moan
https://www.youtube.com/watch?v=h3yd-c91ww8
Discuss the differences between the two in terms of form.
4. How have the two opposing images from early country music played themselves out over
the years in different strains of music? Who can be identified as in the “ramblin’ man” camp
and who might fit with the “family values” camp?
5. Why is it that the first country star, Jimmie Rodgers, often played across cultures and yet
there is so little of that now in country music?
6. Watch this video from a Shirley Temple movie:
https://www.youtube.com/watch?v=wtHvetGnOdM
Recommended Activities
1. Play this video for the class of June Carter singing:
https://www.youtube.com/watch?v=hoUn1ffpKsA
Play a bit of the banter. At 5:47 June sings a song. Ask them what kind of music this is.
Have everyone write down one word on a piece of paper. It’s actually a typical blues form
with a bridge. How many say country? Discuss the implications of this.
2. Put students in groups of three. They will write the words to a classic blues in the style of
Bessie Smith. This means a 4-bar phrase that is repeated, followed by another phrase in an
aab rhyme scheme. Have each group write the a phrase. Then have each group pass their
words to the next group. This group will write the b phrase. Pass it along. The third group
will assign melody to the words. One or more student from each group will perform the
song for the class.
Discussion Questions
1. Is it possible to talk about popular music without using terms that were employed to
segregate music to sell to different audiences? What kind of terminology would you use?
2. From Electro-Rock to Air Pop, there are many new musical terms out there today. Ask
students to list musical designations that exist for genres of music today. How fine can they
slice it?
3. Have students listen to Robert Johnson’s Me and the Devil Blues
https://www.youtube.com/watch?v=3MCHI23FTP8
Now listen to Blind Lemon Jefferson’s Black Snake Moan
https://www.youtube.com/watch?v=h3yd-c91ww8
Discuss the differences between the two in terms of form.
4. How have the two opposing images from early country music played themselves out over
the years in different strains of music? Who can be identified as in the “ramblin’ man” camp
and who might fit with the “family values” camp?
5. Why is it that the first country star, Jimmie Rodgers, often played across cultures and yet
there is so little of that now in country music?
6. Watch this video from a Shirley Temple movie:
https://www.youtube.com/watch?v=wtHvetGnOdM
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12
What kinds of thoughts and emotions arise watching this?
7. Have the class watch St. Louis Blues with Bessie Smith
https://www.youtube.com/watch?v=D6kbQmjD_Jk
Is there a discernible difference between images of African Americans in this movie as
opposed to those in Hollywood movies of that era (and later eras)?
8. Ask the class: What typical images come to your mind when you think of “country music”?
What have you learned that does not fit your stereotypes?
9. There has been a market recently for a return to records. Why do you think that is?
What is your preferred medium for listening to music?
10. John Hammond called for a “lessening of differences between country and popular music,
between folk, rock, jazz, gospel, and other categories.” To what extent has his plea been
answered?
Recommended Listening
“Crazy Blues”
Artist: Mamie Smith (1883–1946)
Music/Lyrics: Perry Bradford
Label: OKeh (1920)
“Blue Yodel #9 (Standin’ on the Corner)”
Artist: Jimmie Rodgers
Music/Lyrics: Jimmie Rodgers
Label: RCA Victor (1931)
“Crossroad Blues”
Artist: Robert Johnson
Music/Lyrics: Robert Johnson
1937 Vocalion Records
“St. Louis Blues”
Artist: Bessie Smith
Music/Lyrics: W.C. Handy
1925 Columbia Records
What kinds of thoughts and emotions arise watching this?
7. Have the class watch St. Louis Blues with Bessie Smith
https://www.youtube.com/watch?v=D6kbQmjD_Jk
Is there a discernible difference between images of African Americans in this movie as
opposed to those in Hollywood movies of that era (and later eras)?
8. Ask the class: What typical images come to your mind when you think of “country music”?
What have you learned that does not fit your stereotypes?
9. There has been a market recently for a return to records. Why do you think that is?
What is your preferred medium for listening to music?
10. John Hammond called for a “lessening of differences between country and popular music,
between folk, rock, jazz, gospel, and other categories.” To what extent has his plea been
answered?
Recommended Listening
“Crazy Blues”
Artist: Mamie Smith (1883–1946)
Music/Lyrics: Perry Bradford
Label: OKeh (1920)
“Blue Yodel #9 (Standin’ on the Corner)”
Artist: Jimmie Rodgers
Music/Lyrics: Jimmie Rodgers
Label: RCA Victor (1931)
“Crossroad Blues”
Artist: Robert Johnson
Music/Lyrics: Robert Johnson
1937 Vocalion Records
“St. Louis Blues”
Artist: Bessie Smith
Music/Lyrics: W.C. Handy
1925 Columbia Records
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Rockin' Out: Popular Music in the U.S.A.
Chapter 3: “Good Rockin’ Tonight”
Outline
Introduction
a. The buildup to WWII caused a wide dispersal of local music, creating new exposure to
blues and country.
b. Soaring profits from economic recovery created power struggles that neither the law nor the
industry were prepared for.
3.1: The Publishers and the Broadcasters: ASCAP Versus BMI
3.1: Discuss the conflict between ASCAP and the BMI over music rights
a. By 1939, ASCAP was dominant and demanding more.
b. BMI was formed to counterbalance ASCAP’s financial and programming
dominance.
c. In 1941, a boycott of ASCAP proved that authentic regional music could
compete with Tin Pan Alley, Hollywood, and Broadway.
3.2: Enter the Deejay
3.2: Analyze how the conflict between the NAB and AFM affected musicians
a. Records challenged the primacy of live performance on radio and brought
on a conflict between NAB and the AFM.
3.2.1: Recorded Music Begins to Push Out Live Music
a. As deejays became more common, the practice of programming only live
music on radio became harder to maintain.
b. The Deejay became a VIP and record companies coddled them.
3.2.2: Musicians Push Back
a. AFM president James C. Petrillo ordered a recording ban in 1942 to force
the radio stations to revert to live music.
3.2.3: Resolution Paves the Way for Change
a. The strike ended when the record companies agreed to pay a royalty on
record sales.
b. Records again dominated airplay.
3.3: From Big Bands to Solo Singers
3.3: Relate the rise of solo singers to the decline of big bands
3.3.1: Sinatra Sings His Way to the Top
a. Frank Sinatra was the first pop vocalist to create hysteria among his fans.
b. His success is an indicator of the rise of the solo singer over the big bands.
Rockin' Out: Popular Music in the U.S.A.
Chapter 3: “Good Rockin’ Tonight”
Outline
Introduction
a. The buildup to WWII caused a wide dispersal of local music, creating new exposure to
blues and country.
b. Soaring profits from economic recovery created power struggles that neither the law nor the
industry were prepared for.
3.1: The Publishers and the Broadcasters: ASCAP Versus BMI
3.1: Discuss the conflict between ASCAP and the BMI over music rights
a. By 1939, ASCAP was dominant and demanding more.
b. BMI was formed to counterbalance ASCAP’s financial and programming
dominance.
c. In 1941, a boycott of ASCAP proved that authentic regional music could
compete with Tin Pan Alley, Hollywood, and Broadway.
3.2: Enter the Deejay
3.2: Analyze how the conflict between the NAB and AFM affected musicians
a. Records challenged the primacy of live performance on radio and brought
on a conflict between NAB and the AFM.
3.2.1: Recorded Music Begins to Push Out Live Music
a. As deejays became more common, the practice of programming only live
music on radio became harder to maintain.
b. The Deejay became a VIP and record companies coddled them.
3.2.2: Musicians Push Back
a. AFM president James C. Petrillo ordered a recording ban in 1942 to force
the radio stations to revert to live music.
3.2.3: Resolution Paves the Way for Change
a. The strike ended when the record companies agreed to pay a royalty on
record sales.
b. Records again dominated airplay.
3.3: From Big Bands to Solo Singers
3.3: Relate the rise of solo singers to the decline of big bands
3.3.1: Sinatra Sings His Way to the Top
a. Frank Sinatra was the first pop vocalist to create hysteria among his fans.
b. His success is an indicator of the rise of the solo singer over the big bands.
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3.3.2: Big Bands Begin to Fall
a. Conditions after WWII, such as a rise in gas prices and a dwindling of
dance culture, caused big bands to fold.
b. This created a void in popular music.
3.4: The Major Labels Reclaim Country Music
3.4: Describe how major record labels were able to dominate the country music business
after World War II
a. The end of the war did away with restriction on the number of records that
could be produced, opening up a wider specialty market for music.
3.4.1: Country Music and Rhythm and Blues Enter the Mainstream
a. After the war, labels replaced the term race with rhythm and blues and
hillbilly with country or country and western.
b. Country and Western musicians were again in the hands of mainstream
labels.
3.4.2: Hank Williams, Country Hit Maker
a. MGM records picked up Hank Williams, who went on to be the biggest
star since Jimmie Rodgers.
b. His Honky Tonk backbeat sound was an early influencer of rock ‘n’ roll.
3.5: The Independents Promote Rhythm and Blues
3.5: Explain the rise in popularity of rhythm and blues in working-class black
communities
a. Major labels rejected the raw sounds of R&B as inappropriate for the
mainstream.
b. Louis Jordan represents the transition from big bands to rhythm and blues.
c. Jordan’s instrumentation was emulated by many later bands.
3.5.1: Rhythm and Blues Turns Up the Volume
a. A schism existed between middle class jazz and working class R&B.
b. After the war, working class blacks asserted their R&B tastes.
3.5.2: King Records Mixes It Up
a. Cincinnati’s King Records had both R&B and c&w divisions.
b. King’s Syd Nathan had the brilliant idea to have each division cover the
other’s hits, creating a great deal of cross-pollination.
3.5.3: Chess Records Gives Chicago the Blues
a. Chicago’s Chess records bought in many of the era’s great undiscovered
blues players.
3.3.2: Big Bands Begin to Fall
a. Conditions after WWII, such as a rise in gas prices and a dwindling of
dance culture, caused big bands to fold.
b. This created a void in popular music.
3.4: The Major Labels Reclaim Country Music
3.4: Describe how major record labels were able to dominate the country music business
after World War II
a. The end of the war did away with restriction on the number of records that
could be produced, opening up a wider specialty market for music.
3.4.1: Country Music and Rhythm and Blues Enter the Mainstream
a. After the war, labels replaced the term race with rhythm and blues and
hillbilly with country or country and western.
b. Country and Western musicians were again in the hands of mainstream
labels.
3.4.2: Hank Williams, Country Hit Maker
a. MGM records picked up Hank Williams, who went on to be the biggest
star since Jimmie Rodgers.
b. His Honky Tonk backbeat sound was an early influencer of rock ‘n’ roll.
3.5: The Independents Promote Rhythm and Blues
3.5: Explain the rise in popularity of rhythm and blues in working-class black
communities
a. Major labels rejected the raw sounds of R&B as inappropriate for the
mainstream.
b. Louis Jordan represents the transition from big bands to rhythm and blues.
c. Jordan’s instrumentation was emulated by many later bands.
3.5.1: Rhythm and Blues Turns Up the Volume
a. A schism existed between middle class jazz and working class R&B.
b. After the war, working class blacks asserted their R&B tastes.
3.5.2: King Records Mixes It Up
a. Cincinnati’s King Records had both R&B and c&w divisions.
b. King’s Syd Nathan had the brilliant idea to have each division cover the
other’s hits, creating a great deal of cross-pollination.
3.5.3: Chess Records Gives Chicago the Blues
a. Chicago’s Chess records bought in many of the era’s great undiscovered
blues players.
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15
b. Willie Dixon wrote hundreds of blues songs and discovered greats like
Muddy Waters and Howlin’ Wolf.
c. Waters formed perhaps the first important electric band.
3.5.4: R&B with Integrity: Atlantic Records
a. Atlantic Records was known for honesty and integrity in its treatment of
black artists.
b. Atlantic featured Ruth Brown and Big Joe Turner.
3.6: Mass Technology and Popular Taste
3.6: Examine the role of technological advances in developing tastes in music
3.6.1: High Fidelity/Low Overhead
a. The development of magnetic recording tape, transistor radios, and high
fidelity 45 and 33rpm discs all contributed to the rise of the independent
record producers.
3.6.2: Television and the Suppression of FM Broadcasting
a. The development of FM radio was delayed in favor of television.
b. The rise of television lured advertisers away from network radio, leaving
room for independents.
3.7: Independent Radio: Deejays in Your Face
3.7: Summarize the role of deejays in further popularizing R&B music
a. With the rise of independents, local radio deejays became dominant voices
in radio.
b. This led to the rise in R&B.
3.7.1: R&B Makes Radio Waves
a. In the late 40s a new breed of black deejays appeared whose primary role
was entertainment.
b. Because the airwaves were not segregated, white audiences for R&B grew.
3.7.2: Alan Freed Brings Rock ’n’ Roll Here to Stay
a. Alan Freed was possibly the first deejay to utter the words “rock and roll”
on the radio.
b. After his show The Moon Dog House Rock ‘n’ Roll Party moved to WINS
in New York, it became the number one popular music station in the city.
Suggested Activities
1. Have half the students research the top societal trends in 1939 in fashion, entertainment, and
lifestyle. Have the other half do the same for 1949. Put them in groups to compare and make
lists of differences and similarities.
b. Willie Dixon wrote hundreds of blues songs and discovered greats like
Muddy Waters and Howlin’ Wolf.
c. Waters formed perhaps the first important electric band.
3.5.4: R&B with Integrity: Atlantic Records
a. Atlantic Records was known for honesty and integrity in its treatment of
black artists.
b. Atlantic featured Ruth Brown and Big Joe Turner.
3.6: Mass Technology and Popular Taste
3.6: Examine the role of technological advances in developing tastes in music
3.6.1: High Fidelity/Low Overhead
a. The development of magnetic recording tape, transistor radios, and high
fidelity 45 and 33rpm discs all contributed to the rise of the independent
record producers.
3.6.2: Television and the Suppression of FM Broadcasting
a. The development of FM radio was delayed in favor of television.
b. The rise of television lured advertisers away from network radio, leaving
room for independents.
3.7: Independent Radio: Deejays in Your Face
3.7: Summarize the role of deejays in further popularizing R&B music
a. With the rise of independents, local radio deejays became dominant voices
in radio.
b. This led to the rise in R&B.
3.7.1: R&B Makes Radio Waves
a. In the late 40s a new breed of black deejays appeared whose primary role
was entertainment.
b. Because the airwaves were not segregated, white audiences for R&B grew.
3.7.2: Alan Freed Brings Rock ’n’ Roll Here to Stay
a. Alan Freed was possibly the first deejay to utter the words “rock and roll”
on the radio.
b. After his show The Moon Dog House Rock ‘n’ Roll Party moved to WINS
in New York, it became the number one popular music station in the city.
Suggested Activities
1. Have half the students research the top societal trends in 1939 in fashion, entertainment, and
lifestyle. Have the other half do the same for 1949. Put them in groups to compare and make
lists of differences and similarities.
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16
2. Have the students listen to the main pop radio station in the area for at least an hour. How
much talk is there? How much time is spent on commercials? How much time is spent on
music, and how familiar are the songs played? Have them also find a local FM station and
apply the same analysis.
3. If you were a musician, which organization would you register your music with: ASCAP or
BMI? Is there a real difference today? Have students research the organizations and report
their findings.
Discussion questions:
1. The question, “Who should benefit, and in what proportion, from the profits derived from
the use and sale of intellectual property?” is as relevant today as it ever was. Discuss the
question from the perspective of today’s technological musical environment.
2. How important is it when you hear a live performance of a favorite band on the radio? Is it
significantly better than listening to a recorded track?
3. Can you imagine a recording ban happening today? Of course not. Why not?
4. Who is more dominant today: bands or vocalists?
5. Play Louis Jordan’s “Saturday Night Fish Fry” for the class. In what way did Louis Jordan
fill the void left behind by the big bands?
6. What were the conditions that allowed Frank Sinatra to be the first singer to create hysteria
among his listeners?
7. Listen to Hank Williams’ “I’m So Lonesome I Could Cry.” Describe the musical and
emotional appeal of this song.
8. Listen to Frankie Laine’s “Mule Train.” Why has this style been described as “halfway
between country and pop”? Does it surprise you that his given name was Francesco Paolo
LoVecchio?
9. Listen to Wayne Rainie’s “Why Don’t You Haul Off and Love Me?”
https://www.youtube.com/watch?v=kUSvtWKgJLk
Have the class predict how an R&B version would sound.
Then play Bull Moose Jackson’s version.
https://www.youtube.com/watch?v=SNZczYKipao
Any surprises?
2. Have the students listen to the main pop radio station in the area for at least an hour. How
much talk is there? How much time is spent on commercials? How much time is spent on
music, and how familiar are the songs played? Have them also find a local FM station and
apply the same analysis.
3. If you were a musician, which organization would you register your music with: ASCAP or
BMI? Is there a real difference today? Have students research the organizations and report
their findings.
Discussion questions:
1. The question, “Who should benefit, and in what proportion, from the profits derived from
the use and sale of intellectual property?” is as relevant today as it ever was. Discuss the
question from the perspective of today’s technological musical environment.
2. How important is it when you hear a live performance of a favorite band on the radio? Is it
significantly better than listening to a recorded track?
3. Can you imagine a recording ban happening today? Of course not. Why not?
4. Who is more dominant today: bands or vocalists?
5. Play Louis Jordan’s “Saturday Night Fish Fry” for the class. In what way did Louis Jordan
fill the void left behind by the big bands?
6. What were the conditions that allowed Frank Sinatra to be the first singer to create hysteria
among his listeners?
7. Listen to Hank Williams’ “I’m So Lonesome I Could Cry.” Describe the musical and
emotional appeal of this song.
8. Listen to Frankie Laine’s “Mule Train.” Why has this style been described as “halfway
between country and pop”? Does it surprise you that his given name was Francesco Paolo
LoVecchio?
9. Listen to Wayne Rainie’s “Why Don’t You Haul Off and Love Me?”
https://www.youtube.com/watch?v=kUSvtWKgJLk
Have the class predict how an R&B version would sound.
Then play Bull Moose Jackson’s version.
https://www.youtube.com/watch?v=SNZczYKipao
Any surprises?
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17
10. Discuss the implications of Muddy Waters’ comment about the Rolling Stones: “They stole
my music, but they gave me my name.”
11. Compare today’s portable devices with earbuds to the transistor radio. What is the effect of
each on musical tastes? What are the major similarities and differences between the two?
12. What styles of music benefit the most from current advances in digital technology?
13. The early 1950s was an era of hometown deejays promoting local bands. Who are the
current hometown stars in your area? Are they getting airplay on the radio? Why or why
not?
14. At one point in his life, Louis Jordan said, “Rock ‘n’ Roll is just rhythm and blues played by
white performers.” Do you agree or disagree?
Suggested Listening
“Hey Good Lookin’”
Artist: Hank Williams
Music/Lyrics by Hank Williams
Label: MGM (1951)
“I'm So Lonesome I Could Cry”
“Hey Good Lookin’”
Artist: Hank Williams
Music/Lyrics by Hank Williams
Label: MGM (1949)
“Saturday Night Fish Fry”
Artist: Louis Jordan
Music/Lyrics by Louis Jordan/Ellis Walsh
Label: Decca, 1949
“(Mama) He Treats Your Daughter Mean”
Artist: Ruth Brown
Music/Lyrics by Herb Lance, John Wallace, and Charlie Singleton
Label: Atlantic (1953)
10. Discuss the implications of Muddy Waters’ comment about the Rolling Stones: “They stole
my music, but they gave me my name.”
11. Compare today’s portable devices with earbuds to the transistor radio. What is the effect of
each on musical tastes? What are the major similarities and differences between the two?
12. What styles of music benefit the most from current advances in digital technology?
13. The early 1950s was an era of hometown deejays promoting local bands. Who are the
current hometown stars in your area? Are they getting airplay on the radio? Why or why
not?
14. At one point in his life, Louis Jordan said, “Rock ‘n’ Roll is just rhythm and blues played by
white performers.” Do you agree or disagree?
Suggested Listening
“Hey Good Lookin’”
Artist: Hank Williams
Music/Lyrics by Hank Williams
Label: MGM (1951)
“I'm So Lonesome I Could Cry”
“Hey Good Lookin’”
Artist: Hank Williams
Music/Lyrics by Hank Williams
Label: MGM (1949)
“Saturday Night Fish Fry”
Artist: Louis Jordan
Music/Lyrics by Louis Jordan/Ellis Walsh
Label: Decca, 1949
“(Mama) He Treats Your Daughter Mean”
Artist: Ruth Brown
Music/Lyrics by Herb Lance, John Wallace, and Charlie Singleton
Label: Atlantic (1953)
Loading page 22...
18
Rockin' Out: Popular Music in the U.S.A.
Chapter 4: The Eruption of Rock ‘n’ Roll
Outline
Introduction
a. The term “rock ‘n’ initially referred to a sexual act.
b. As a musical designation for purposes of this book, it began in the 1950s.
4.1: The Roots of Rock ‘n’ Roll
4.1: Examine the complex interplay of social and cultural forces that gave rise to rock
‘n’ roll
a. Rock ‘n’ roll resulted from a complex interplay of social and cultural forces
that cannot be reduced to a simple formula.
b. However, “Most of the first rock ‘n’ roll styles were variations on black
forms…” such as the saxophone of Illinois Jaquet and the guitar of T-Bone
Walker, among others.
c. Women were treated as totally dependent creatures or ideal, unreal
apparitions.
4.2: Structural Changes in the Music Industry
4.2: Describe the structural changes in the music industry with the entry of the
independent radio stations, the 45-rpm record, and rock ‘n’ roll
a. Rock ‘n’ roll swept away the simple marketing categories that had held
sway for years.
b. Independent labels were able to compete with the majors because of the
lightness of the 45rpm record and the dissemination of more FCC licenses.
c. With Top Forty radio, the deejay became a replaceable element in a total
sound formula.
4.3: Sounds of the Cities
4.3: Describe the contribution of indigenous artists from different cities
towards increasing the richness of the music industry
4.3.1: New Orleans: The Fertile Crescent of Rock ‘n’ Roll
a. New Orleans was informed by diverse musical sources.
b. Cosimo Matassa created the signature New Orleans studio sound.
c. Never a sex symbol or a musical iconoclast, Fats Domino managed to
transcend racism and ageism.
d. Little Richard’s outrageous personal appearance was the perfect
complement to his uninhibited stage act.
4.3.2: Los Angeles: From Jump Blues to Chicano Rock
Rockin' Out: Popular Music in the U.S.A.
Chapter 4: The Eruption of Rock ‘n’ Roll
Outline
Introduction
a. The term “rock ‘n’ initially referred to a sexual act.
b. As a musical designation for purposes of this book, it began in the 1950s.
4.1: The Roots of Rock ‘n’ Roll
4.1: Examine the complex interplay of social and cultural forces that gave rise to rock
‘n’ roll
a. Rock ‘n’ roll resulted from a complex interplay of social and cultural forces
that cannot be reduced to a simple formula.
b. However, “Most of the first rock ‘n’ roll styles were variations on black
forms…” such as the saxophone of Illinois Jaquet and the guitar of T-Bone
Walker, among others.
c. Women were treated as totally dependent creatures or ideal, unreal
apparitions.
4.2: Structural Changes in the Music Industry
4.2: Describe the structural changes in the music industry with the entry of the
independent radio stations, the 45-rpm record, and rock ‘n’ roll
a. Rock ‘n’ roll swept away the simple marketing categories that had held
sway for years.
b. Independent labels were able to compete with the majors because of the
lightness of the 45rpm record and the dissemination of more FCC licenses.
c. With Top Forty radio, the deejay became a replaceable element in a total
sound formula.
4.3: Sounds of the Cities
4.3: Describe the contribution of indigenous artists from different cities
towards increasing the richness of the music industry
4.3.1: New Orleans: The Fertile Crescent of Rock ‘n’ Roll
a. New Orleans was informed by diverse musical sources.
b. Cosimo Matassa created the signature New Orleans studio sound.
c. Never a sex symbol or a musical iconoclast, Fats Domino managed to
transcend racism and ageism.
d. Little Richard’s outrageous personal appearance was the perfect
complement to his uninhibited stage act.
4.3.2: Los Angeles: From Jump Blues to Chicano Rock
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19
a. The independent labels in Los Angeles in the late 1940s sought to satisfy
the cultural needs of the poor white, black, and Chicano migrants.
b. Johnny Otis’ big band sound and format was integral that of West Coast
peers like Roy Milton, T-Bone Walker, and Joe Liggins.
c. Otis, though white, was an important catalyst for African American culture
and talent.
4.3.3: Chicago
a. Chicago was a center for urbanized Delta blues musicians.
b. Chess Records actively sought out Southern blues musicians like Muddy
Waters and Howlin’ Wolf.
c. Chuck Berry had the uncanny ability to relate R&B to white teen culture
without disowning his blackness.
d. A strong drum backbeat, Berry’s repeating guitar riff, and the boogie-
woogie piano sound are all typical of 1950s rock ‘n’ roll style.
e. He was rock ’n’ roll’s first hero.
f. Vee Jay Records main success was Delta bluesman Jimmy Reed.
4.3.4: Cincinnati: The Crossroads of Blues and Country
a. Syd Nathan’s King Records encouraged his artists—country and western
and rhythm and blues—to record each other’s songs, contributing to the
cultural cross-pollination that would yield rock ‘n’ roll.
b. Its subsidiary, Federal, introduced gospel-influenced vocal harmony
groups, prefiguring doo wop music.
4.3.5: R&B Sanctified: The Gospel Connection
a. In the early 1950s some gospel-trained singers began to move into the
secular world.
b. Atlantic produced the most influential gospel-tinged vocalist of all—Ray
Charles, who saw no contradiction between gospel and R&B.
c. Other gospel-influenced singers were Jackie Wilson and Sam Cooke.
4.4: Doo Wop Incorporates Gospel, Jazz, and Pop
4.4: List some of the popular groups and labels of doo wop
a. In addition to its gospel roots, doo wop could be traced back to the Mills
Brothers and the Ink Spots, who turned out nearly fifty hits between 1939
and 1951.
b. Doo wop was the product of black male urban vocal harmony groups.
4.4.1: New York Was Doo Wop Central
a. The New York label that had the most luck with vocal harmony groups was
Atlantic.
b. Two Atlantic vocal groups achieved greatness working with Leiber and
Stoller—the Coasters and the Drifters.
a. The independent labels in Los Angeles in the late 1940s sought to satisfy
the cultural needs of the poor white, black, and Chicano migrants.
b. Johnny Otis’ big band sound and format was integral that of West Coast
peers like Roy Milton, T-Bone Walker, and Joe Liggins.
c. Otis, though white, was an important catalyst for African American culture
and talent.
4.3.3: Chicago
a. Chicago was a center for urbanized Delta blues musicians.
b. Chess Records actively sought out Southern blues musicians like Muddy
Waters and Howlin’ Wolf.
c. Chuck Berry had the uncanny ability to relate R&B to white teen culture
without disowning his blackness.
d. A strong drum backbeat, Berry’s repeating guitar riff, and the boogie-
woogie piano sound are all typical of 1950s rock ‘n’ roll style.
e. He was rock ’n’ roll’s first hero.
f. Vee Jay Records main success was Delta bluesman Jimmy Reed.
4.3.4: Cincinnati: The Crossroads of Blues and Country
a. Syd Nathan’s King Records encouraged his artists—country and western
and rhythm and blues—to record each other’s songs, contributing to the
cultural cross-pollination that would yield rock ‘n’ roll.
b. Its subsidiary, Federal, introduced gospel-influenced vocal harmony
groups, prefiguring doo wop music.
4.3.5: R&B Sanctified: The Gospel Connection
a. In the early 1950s some gospel-trained singers began to move into the
secular world.
b. Atlantic produced the most influential gospel-tinged vocalist of all—Ray
Charles, who saw no contradiction between gospel and R&B.
c. Other gospel-influenced singers were Jackie Wilson and Sam Cooke.
4.4: Doo Wop Incorporates Gospel, Jazz, and Pop
4.4: List some of the popular groups and labels of doo wop
a. In addition to its gospel roots, doo wop could be traced back to the Mills
Brothers and the Ink Spots, who turned out nearly fifty hits between 1939
and 1951.
b. Doo wop was the product of black male urban vocal harmony groups.
4.4.1: New York Was Doo Wop Central
a. The New York label that had the most luck with vocal harmony groups was
Atlantic.
b. Two Atlantic vocal groups achieved greatness working with Leiber and
Stoller—the Coasters and the Drifters.
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Music