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MUSI 3320 : Popular Music and Society

Instructor - Clay Shotwell, Ph.D.

This course is open to both music majors and non-music majors and is designed to achieve the following objectives:

1. Student skills development including: 1) listening perception, 2) oral presentation in class, 3) written reports, 4) team projects (optional), 5) aural, visual analysis of music videos, and reading comprehension, 6) analytic thinking.

2. An inquiry into the dynamics of American and British-based popular music and popular culture studied in the context of U.S. and European-based cultures between 1950 and the present day.

Readings for this course will be drawn from the textbook, And the Beat Goes On, by Michael Campbell. New York: Schirmer Books. 1996.) and other sources. Many of the other readings (journals and books) are taken from sources not available in Reese Library, therefore, copies will be provided for you. A 5CD Collection Set of musical examples discussed in the Campbell text is also available (optional) through the ASU Bookstore. The Campbell text and CDs are available through the ASU Bookstore in Washington Hall, and at Spotted Cow in Daniel Village Shopping Center.

Week 1 : Introduction and Overview of Music Industry. Model of Supply and Demand.

Adorno, Theodore. 1990: "On Popular Music". In On Record: Rock, Pop, and the Written Word. Simon Frith and A. Goodwin (eds), , London: Routledge Press, pp.301-314.

Week 2 : African American Musical Roots of Rock Music: the Blues, Gospel, Jazz and Rhythm and Blues.

"The Blues". African American Music: An Introduction. Earl Stewart. New York: Schirmer Books. 1998. pp 39-65. Twelve Bar Blues

"The Critique of Capitalism" in The Marx-Engels Reader. Robert C. Tucker (Ed.) 2^nd Edition. New York: W. W. Norton and Company. 1978. pp.250-261; 302-361.

Week 3: Walter Benjamin: The Arcades Project and Nineteenth Century Paris: Consumer Culture. Capitalism, Karl Marx and the Music Industry

Frith, Simon. "Toward a Popular Aesthetic". Performing Rites. Cambridge: Harvard University Press. 1996. Pp.269-280.

Benjamin, Walter. The Arcades Project. Translated by Howard Eiland and Kevin McLaughlin. Cambridge, Mass: Harvard University Press. 1999

Week 4: Commercialization of African American Musical Traditions: Musical roots in Folk, Country and Rockabilly.

"The Early 1960s: Popular Music in Transition: Teen Idols, Girl Groups and the Music Industry." Campbell, pp.83-102

Rock and Sexuality" in On Record: Rock, Pop, and the Written Word. S. Frith and A. Goodwin (Ed). London: Routledge Press. 1990. Pp. 371-389.

Week 7: The Beatles and the British Invasion (Rolling Stones, The Who and others)

"Soul Music: 1960 to 1980", in African American Music: An Introduction. Earl Stewart. New York: Schirmer Books. 1998. pp.221-249

"The American Rock Renaissance: The Response of Dylan, Folk Rock and Others". In Rock and Roll: It's History and Stylistic Development, 3^rd Edition. Englewood Cliffs, NJ: Prentice Hall. Joe Stuessy and Scott Lipscomb, pp. 185-206

"Modernist Narratives and Popular Music", Charles Hamm, in Putting Popular Music In It's Place; Cambridge: Cambridge University Press. 1995, pp.1-40.

Week 10: Counter Culture: The San Francisco Scene (Jimi Hendrix, Janis Joplin, the Grateful Dead, The Doors, Jefferson Airplane

"The San Francisco Scene". in Rock and Roll: It's History and Stylistic Development, 3^rd Edition. Englewood Cliffs, NJ: Prentice, pp. 235-256.

"Black Sound, Black Body: Jimi Hendrix, the Electric Guitar and the Meaning of Blackness", in Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience. Steve Waksman. Cambridge, MA: The President and Fellows of Harvard College. 1999. Pp.167-2

"Radio Space and Industrial Time: The Case of Radio Formats", in Rock and Popular Music: Politics, Policies and Institutions.
by S. Frith, T. Bennet, L. Grossberg, J. Shepherd, G. Turner (Editors) London: Routledge Press. 1993.

"Forging Masculinity: Heavy Metal Sounds and Images of Gender". in Running With the Devil: Power, Gender and Madness in Heavy Metal Music. Robert Walser. Hanover, NH: Wesleyan University Press. Pp. 108-136. 1993.

"Rock 'n'Roll Ain't Noise Pollution: Artistic conventions and Tensions in the Major Sub- genres of Heavy Metal Music",Friesen, Bruce and Jonathan Epstein. Popular Music and Society , 18/3:1-18, Fall-1994..

"Reading Between the Lines: Music and Noise in Hegemony and Resistance". Paul Kohl. Popular Music and Society XXI/3: 3-18, 1997.

"Gender or Genre? : Emotional Models in Commercial Rap and Country Music". Popular Music and Society 20/2:121-154. 1996. John Ryan, Calhoun Legare III and William Wentworth.

"Fumbling Towards Ecstacy: Voice Leading, Tonal Structure and the Theme of Self-Realization in the Music of Sarah McLachlan". in Expressions in Pop-Rock Music. Walter Everrett (Ed). New York: Garland Publications, 2000.