By Larry Starr, Christopher Waterman
Rock, state, pop, soul, funk, punk, people, hip-hop, techno, grunge--it's all right here. In American well known song: The Rock Years, Larry Starr and Christopher Waterman take readers on a desirable trip during the wealthy historic and stylistic panorama of yank rock. An abridged model of the authors' acclaimed American renowned track: From Minstrelsy to MTV, this quantity contains chapters 8-14 of the longer publication besides new introductory and concluding chapters.
American well known track: The Rock Years lines the improvement of rock from its roots within the mid-1940s to its present kingdom within the twenty-first century, integrating in-depth discussions of the tune itself with strong assurance of the attendant historic, social, and cultural situations. It moves a stability among musical research and social context, exhibiting how rock and American tradition have always motivated one another through the years. utilizing well-chosen examples, insightful commentaries, and an interesting writing variety, the authors spotlight the contributions of various teams to the advance of rock track, clarify the consequences of developments in recording know-how, and chronicle the expansion of rock track as an undefined. The booklet is more advantageous via a wealthy representation software; boxed inserts on major participants, recordings, and interesting themes; and well-organized listening charts for recordings which are mentioned intimately within the textual content. Remarkably obtainable, American renowned track: The Rock Years is perfect for introductory classes within the background of rock and roll and may motivate readers to develop into extra significantly conscious listeners of rock music.
About the Author
Larry Starr is at college of Washington. Christopher Waterman is at UCLA.
Read or Download American Popular Music: The Rock Years PDF
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Additional resources for American Popular Music: The Rock Years
These recordings typically featured string orchestras or choruses, with an occasional light touch of the exotic—maracas, castanets, a harpsichord, or a vaguely Latin rhythm. ) Romantic vocal and orchestral recordings were interspersed on the hit charts with catchy, light-hearted novelty songs, including Number One hits such as “Woody Woodpecker” (Kay Kyser, 1948), “The Thing” (Phil Harris, 1950), “I Saw Mommy Kissing Santa Claus” (Jimmy Boyd, 1952), and “The Doggie in the Window” (Patti Page, 1953).
9 10 And pal around with democratic fellows named Mac Change 2 (dominant) . . . . 11 12 So take me right back to the track, Jack. Home (tonic) . . . . Thus, “Choo Choo Ch’ Boogie” integrates the twelve-bar blues progression into a verse-chorus strophic structure. Verses in twelve-bar blues form alternate with the eight-bar choruses. Additional variety is created in the recording by the employment of purely instrumental episodes: an introduction, a concluding “tag,” and passages following the first and second occurrences of the chorus (see the listening chart).
And the record industry really didn’t know what to do with urban folk music. Was it “folk music”? Or “country and western”? Or perhaps “novelty music”? The first urban folk group to achieve commercial success was the Weavers, a quartet led by the singer, banjo player, and political activist Pete Seeger (b. 1919). The Weavers developed a repertoire based on American and international folk songs “CHOO CHOO CH’ BOOGIE”: THE PREHISTORY OF ROCK ’N’ ROLL, 1945–1955 Leadbelly, the composer of “Goodnight Irene,” and the Weavers (Pete Seeger, Lee Hays, Fred Hellerman, Ronnie Gilbert).
American Popular Music: The Rock Years by Larry Starr, Christopher Waterman