Module 8

Throughout most of the readings and studies in the class thus far, we’ve noticed that the “retro” impulse in popular music is quite common (Starr and Waterman, pg. 542).  Many popular artists of today include stylistic and musical elements that are from older musical genres and have become reworked into a modern tradition.  Bruno Mars captures this throwback image, as we have seen in live performances such as his Superbowl halftime show which features dance breaks that are a blatant replication of James Brown.  The partnership between his music and identity are clearly inspired by artists of a previous time, but with a modern twist.  Race and musical stylings also contribute to said image, as we have seen over time the borrowing of elements between styles of different natures, such as that of blues and country.  While many notable musicians defend the idea that “music has no color,” it is hard to deny stereotypes within these styles of music (pg. 544-545).  Many of the great songs and artists would be very different if performed in a different language or even by a different performer. Merle Hagart and Outkast are not going to be able to implement their style, sound and artistry into the others music. It is hard to argue that racism hasn’t played a major role in the evolution of “American” music, a term as broad and diverse and its country’s occupants (545).  

Social classes play a very important role in how music is written and portrayed in american vernacular. Many artists take their own background and incorporate that into their music for their specific audiences.  Consider Bruce Springsteen’s Born In The U.S.A. which serves as a series of snapshots for the American working class.  Grandmaster Flash’s “The Message” and Sam Cooke’s “A Change Is Gonna Come” both defend the African American population, referencing conditions other races may not experience (547).  Billy Joel’s “Uptown Girl” mentions a woman’s reluctance to pursue a man (Joel) who may be beneath her stature (547).  The music of Motown as well as blues show an amount of personal accounts to their past as well as difficulties of the present. Socioeconomic classes play a great deal in the major role of creating music from the 1970’s to now.

Another important development in American Vernacular music is the creation of important Technology to help in the dissemination of music. With the invention of the phonograph, radio, the electric microphone, and sound film to the advancements in audio-recording like the different forms of recording to digital samplers and sequencers, the compact disc, and today’s evolution of the internet, iPods, and iPhones (548).  Recording music has advanced, too, like the implementation of digital recording and refined use of analog recording.  Products like AutoTune and ProTools afford its user correction of musical errors, but take away from the sonic element of music (549).  “Imperfection” is a necessary part of music (549). With the technological advances in vernacular music, the way music is able to be performed, shared, created, as well as disseminated is up to an immeasurable level. In addition to technology, social networks such as Facebook, Myspace and other outlets have allowed for digital recordings and downloads to become included in overall sales for artist on Billboard Top 100 as well as introduced new upcoming artists using SoundCloud and YouTube Channels. 

As music became more and more popular in the united states, many producers wanted to reach out the American public through the use of television.Television networks like MTV and VH1 once delivered music videos and programs, being the first channels of their nature. New forms of music television like The Voice and American Idol provide its viewers with reality-based music offerings (550-551).  Programs like Idol embrace a large sense of American values such as democracy and competition (552).  The voting audience has even overturned judge rulings, giving fans a voice and allowing them to dictate the outcome, further driving the appeal of such programs (552).  

Today, the internet is the most profound catalyst in the dissemination and popularization of music (552).  The creation of the MP3 has made music-listening and -purchasing uniquely different from previous forms.  The use of MP3’s are very simple and can has become the most common form of sharing and selling music. The MP3 is very convenient given the advancements and focus on technology in modern American culture.  Of course, illegal dissemination of music via MP3 sharing is often an issue, as evidenced in scandals like that of Napster in 1999 (553).  Today, iTunes, created by Steve Jobs in 2001, is a fee-based music downloading service designed to supply content for the then-new iPod (554).  Other groups, like Amazon, have challenged the iTunes method of fee-based music downloading services, but iTunes still dominates the download business (555-556).  

Module 7

During the 1980’s, music was deeply influenced by the national recession. The amount of change that took place would cause the music industry to change many strategies and concepts of sound such as new forms of entertainment, fighting the pirating of music, as well as the development of digital recording and compact discs. (Starr and Waterman pgs. 450-451).  Today, digital recording is the primary means for which popular artists record their music (pg. 454).  Further, devices like digital samplers, digital sequencers, and drum machines allowed for artists to record and produce their own music, exploring different sounds themselves. This would allow for many musicians to become independent record producers as well as to discover new talent for the music industry. In addition to the way we record, the new technology would allow us to revolutionize the way in which we would obtain music. The synthesizer, MIDI, and evolution of playing devices like the Hammond B-3 organ were all being used in such settings (pg. 455). 

The popularization of digital recording would take the music industry by storm. Eurythmics very popular song “Sweet Dreams (Are Made of This)” features a “hypnotic” loop, or repeated instrumental pattern looping in repetition (pg. 459).  It is reminiscent of the disco sound but points toward the evolution of the “new wave” sound. The use of this technology allowed for audiences to feel a new style of music while relating to an older generation. The Grammy-Winning “What’s Love Got To Do With It?” by Tina Turner features synthesized strings in the verses and a reggae-like groove with electric guitars and bass.  This gives the song almost a throwback sound, which wasn’t uncommon for the time.  Kenny Rogers’ “Lady” would also use similar qualities from previous genres by  featuring acoustic instruments, and soft and sentimental qualities (pg. 458).  Another example would be Peter Gabriel’s “Sledgehammer” which features a horn section to create a sound similar to that of the 1960’s soul movement (pg. 462).  Gabriel uses G-rated sexual metaphors throughout the song paired with a music video that fitted the music very well, which was put into heavy rotation by MTV (Music Television), further driving the success of the song (pg. 463).  

As evidenced in the success of Michael Jackson’s Thriller, Paul Simon’s Graceland, and Bruce Springsteen’s Born in the U.S.A., solo artists were thriving at this time in both music and performances (both live and video).  Jackson’s state-of-the-art pop album Thriller, produced by Quincy Jones, bridged the divides in popular music styles, featuring Paul McCartney’s (“The Girl Is Mine”) and Eddie Van Halen’s (“Beat It”). These songs were just as influential when they were originally performed, however provided a new twist and opening up to a whole new audience. Springsteen’s E-Street Band used throwback rock instrumentation such as saxophone to show the relationship between R&B and his music.  The album Born In The U.S.A. is relatable, serving as “snapshots” for American working people of his generation (pg. 469).  Simon’s interest in music that isn’t indigenous to the United States is manifested in his songs on Graceland (pg. 470).  During the 80’s other artists such as Madonna and Prince also received much acclaim.  They embraced the “whole” artist, from the musical stylings to their appearance, stage presence, and persona.  Granted, the same can be said about Jackson, Springsteen, and Simon, Madonna and Prince were especially showy. They would go above and beyond in both theatrics as well as performance.  They are highly skilled manipulators of mass media and have created multiple alter egos as part of their image (pg. 476).  Madonna’s “Like A Virgin” utilizes the aforementioned new synthesizer technology while pushing her vocals to the front.  The song is very provocative, further exemplifying the need to portray herself rather than just perform. This was not her first, nor last controversial video, however it was one of the most discussed musical styling’s and provocative songs to date.  Prince’s “When Doves Cry” shows off his mastery of musicianship.  All of the instrumentation on the recording is played by Prince, even the vocal harmonies. This was a skill that could only be performed through the use of digital recording and computers, a true original concept in American Vernacular music.  His universal skill is exemplified in the second section of the song, which features many layers of synthesizer grooves, orchestral sounds, instrumental solos, and a variety of vocal timbres (pg. 488).  

By the end of the twentieth century, it had become almost impossible to sustain a clear-cut dichotomy between the center of American popular music and its margins (pg. 491).  Charts were dominated by artists of all different genres: adult contemporary, country, R&B vocal groups, hard rock, heavy metal, punk-influenced alternative rock, alternative singer-songwriters, hip hop, rap, and even film soundtrack and scores.  All of these new musical genres exemplify the tensions and contradictions created when music is marketed to a mass audience as a form or opposition to the popular mainstream (pg. 494).  Take hip hop for example, where artists like Run D.M.C. (Raising Hell) and The Beastie Boys (License to Ill) attracted younger audiences with their transgressive, rebellious sensibility (pg. 495 “Walk This Way” (written by Aerosmith) syncs together Run D.M.C as well as the iconic rock group Aerosmith to create a collaboration unlike any other between hip hop and rock. The music video was the first hip hop video to be put into heavy rotation by MTV (pg. 496), further expanding the market for hip hop as well as collaborations between genres.  

By the 1990’s, almost every major genre had sprouted an alternative sub-genre (pg. 511).  Alternative rock of the 80’s and 90’s saw a number of “indie” and “underground” styles bubble up, popularized by groups like R.E.M., Sonic Youth, Dead Kennedys, and Nirvana.  “Holiday In Cambodia” by Dead Kennedys exemplifies the sensibility of early 1980’s hardcore punk rock (pg. 515).  It features an extremely fast tempo of 208 BPM and is directed at spoiled, suburban yuppies who the singer suggests should be forced into labor in Cambodia (pg. 515).  As heard in “Holiday In Cambodia,” punk, hardcore, and underground music of this time often explored taboo topics like drug use, depression, incest, suicide, and social/environmental issues. This was typically done in terms of protest of government or in conjunction with political views of the time.  “Smells Like Teen Spirit” by Nirvana was the first alternative rock single of the 1990’s to break into the top 10 (pg. 518).  It is a combination of heavy metal instrumental textures and pop songwriting techniques, including a guitar solo that is nearly note-for-note identical to the verse vocal melody. 

In the 1980’s, there stood a strong female presence in the alternative music world.  Artists like Queen Latifa, Ani DiFranco, Lauryn Hil, and k.d. lang served as female ambassadors in their respective male-dominated genres.  Lauryn Hill’s “Doo Wop (That Thing)” offers a unique contribution to the hip hop repertoire (pg. 524).  It combines aspects of 1950’s R&B including a soulful vocal, four-part harmonies, and a horn section while utilizing new technology like drum machines and a rap vocal style in the verses (pg. 524).  K.d. Lang’s “Nowhere to Stand” features an acoustic guitar with lyrics that reference an abusive childhood, and further mentions the hand-me-down mentality in that the narrator of the song cannot help but repeat the same abuse on her child (pg. 526). 

Module 6

The 1970’s developed into a forever-changing era in both the culture of young adults, as well as with the music. Our young adults during the 1970’s began to focus on materialistic and conservative attitudes (Starr and Waterman, pg. 368).  The need for more mature music, due to culture and social changes, the musicians solution to this problem was the creation of several sub-genres of both rock and popular music. Commercial radio was highly influential on the dissemination of these new sub-genres, including styles like pop rock, adult contemporary, singer-songwriters, soft soul, country pop, bubblegum, and disco (pg. 371).  Some of these genres, like “soft soul,” were the result of the influence of previously popular genres like Motown.  Even with new genres dominating the radio, “oldies radio” were introduced in the 1970’s, giving the music of “older artists” (Elvis Presley and Chuck Berry) a fresh look with new audiences.  

Several songs from this weeks reading helped to bring about the changes as well as highlight man of the new sub-genres These sub-genres include rock, disco, progressive country, reggae, salsa and hip-hop. Looking at rock music first, while never really changing, rock music increased in variety, as exemplified in the songs “Stairway To Heaven” and “Oye Como Va.”  Led Zeppelin’s “Stairway To Heaven” was never released as a single because in order to own the song, the listener had to purchase the entire album (pg. 389).  “Stairway To Heaven” is a strong departure from the rock music of previous eras because the band’s musical influence for this rock song includes urban blues of southern California, elements of folk music, and psychedelia.  The song is a juxtaposition of hard rock and soft folk creating somewhat of a sacred experience for its primarily young, male audience (pg. 391).  Meanwhile, Carlos Santana’s “Oye Como Va” exemplifies influence of previous generations.  Santana grew up with mostly latin influences and rock music, but was able to incorporate other genres such as jazz into his music as shown in “Oye Como Va.”  He used his virtuosity of the guitar to lead his song while incorporating Latin instruments like timbales, an agogo, congas, and other Latin percussion (pg. 394).  The lyrics of “Oye Como Va,” as well as many of his early recordings are less important than the instrumental elements to his song similar to artists of the earlier in the decade.  The lyrics are sung in short phrases, allowing the listener to be exposed to the instrumental and emphasizing the “groove” of the song. 

Disco was another sub-genre that became quite popular during the 1970’s. The term “disco” comes from “discotheque,” a term used for nightclubs that played pre-recorded music that people would dance to.  “Bad Girls” by Donna Summer and “Good Times” by Chic are representative of the disco era. Both contain an incessant beat, a steady, medium-fast tempo, a straightforward, repetitive form, straightforward subject matter and lyrics, and limited harmonic vocabulary (pg. 405).  While these elements are certainly derived from many other forms of music, they incorporated an amazing quality seen in music history of “back to the basics” approach with a couple of new school ideas. These new ideas included the use of new technologies like a guitar wah-wah pedal, sultry and sexy vocals (often times by females), the use of reverb, and the synthesizer (pg. 404).  

Although the 1970’s served as a period of stylistic conservatism and corporate consolidation in popular music, a handful of 1970’s music did not fit neatly into the frameworks of Top 40 radio (pg. 408).  New styles like progressive country music, reggae, salsa, new wave, funk, punk, and hip-hop emerged, further contributing to the idea that American vernacular music is an umbrella-like term, covering many genres and sub-genres.  Progressive country, artists like Willie Nelson and Townes Van Zandt led this movement with an unpolished vocal style, and as exemplified in “Poncho And Lefty,” the typical European-derived ballad form studied in prior chapters (pg. 412).  Similar to the evolution of disco, Van Zandt puts new twists on the old form, as he addresses a character within the lyrics using a second-person writing style and later in the third-person, the more typical lyrical writing style of ballads (pg. 412).  In addition to contemporary country, reggae was considered to be the first style of the rock era to originate in the third world (pg. 413).  Similar to Rhythm and Blues in America, the style is highly syncopated, sometimes using elements like fast tempos, brass instrumentation, and emphasis of the backbeat.  “Rock steady” was a slower style of reggae, combining elements of burru drumming (pg. 414).  When speaking of “reggae,” it has become automatic to associate Bob Marley (of The Wailers) with this musical movement.  Marley’s writing and performing style is laudable, serving as reggae’s international ambassador (pg. 416).  His songs are rooted in the Rastafarian belief system, referencing determination, rebellion, and faith (pg. 416).  Salsa music also gained credibility in the 1970’s.  Salsa music, still popular today, became a craze because of its highly intense, passionate qualities allowed for the accompaniment of dance.  An important factor in the emergence of salsa music was the rise of independent Latin-oriented record companies (pg. 419). 

Rap and hip-hop music is unlike every other genre covered within our readings, receiving much public scrutiny (pg. 437).  Songs like “The Message” by Grandmaster Flash and the Furious Five reflect on African musical and verbal traditions, with an emphasis on rhythmic momentum and creativity and complex tone colors and dense textures (pg. 438).  The emergence of hip-hop in the 1970’s ultimately led to the rap movement. New techniques like “scratching” records and using digital samples became the norm for hip-hop music while making it extremely popular with the youth and incorporated new styles, dances, as well as audiences. “The Message” portrays all of the aforementioned elements of a rap/hip-hop record, presenting a very real vision of life in urban culture. These elements are still prevalent in rap and hip-hop music today.

Module 5

During the 1960’s, some of the most socially and culturally influenced music was created to highlight the emotions and tension created in America. As stated by Staff and Waterman, “Few eras in American history have been as disruptive, controversial, and violent as the decade of the 1960’s,” (pg. 284).  This era was highly impressionable on musicians and culture alike.  Many historians of pop culture point to the impact of the assassination of JFK as the need for young people to buy into something more fun and uplifting (pg. 302).  From the British Invasion of the Beatles to the Civil Rights movement, every audience in vernacular music has something that was easily relatable to their emotions, struggles, celebrations or simply pleasures.  

The early 1960’s was the golden age for rock n’ roll vocal groups (pg. 290).  Records were written with the influence of Phil Spector and his “wall of sound.” Not only all-white male groups, but all-female black groups began to gain recognition during this time, like The Ronettes (“Be My Baby”) and The Crystals (“Uptown”).  “Be My Baby” illustrates Spector’s “wall of sound” by incorporating a doubling of instrumental parts in the vocals, allowing that to be the focus. Simultaneous to Spector, Berry Gordy Jr. was making a strong impact on the music of the early 1960’s with the Motown movement. Named after “the motor city,” Gordy was determined to keep all of the creative and financial aspects of the business under African American control (pg. 293).  While the Motown movement sought to create a sound for young America of all races, it certainly catered to African American musicians while still aimed at the commercial mainstream audience (pg. 294).  Gordy Jr. was a lot like Spector sharing the same passion for highlighting vocal groups, like Motown’s group The Supremes and their hit “You Can’t Hurry Love.” While not really in competition, it should be noted that Motown was a much more successful label than Spector’s Philles Records. Motown would begin to exemplify the rock n’ roll trends of the time (pg. 295).  “My Girl,” performed by The Temptations, is exemplary of the Motown sound with an opening statement that the listener engaged. “You Can’t Hurry Love” by The Supremes shows the label’s versatility in that it has a much more sophisticated sound and arrangement than previous songs of the Motown era (pg. 296). 

Simultaneous to the Motown movement, artists like The Beach Boys were making their mark on American vernacular music, creating a unique sound that branched out from the traditional forms, sounds, and lyrical content of rock n’ roll (pg. 299).  Brian Wilson, who served as the group’s main songwriter, led the Beach Boys.  Wilson acknowledged his reliance on previous rock n’ roll artists to carve out distinctive new musical ground for The Beach Boys (pg. 300).  Take “Surfin’ U.S.A.” as an example, which borrows the music of Chuck Berry’s 1958 hit “Sweet Little Sixteen.”  Paying homage to Berry’s influence on rock n’ roll, Wilson shifts the focus of the tune from dancing to surfing (pg. 300). The Beach Boys were also known for creating the “California Sound.” This sound featured new audio and harmony techniques that would eventually turn to Beach Music. The Beach Boys were able to focus their sounds on a younger generation for social and dancing purposes.

The Rock n’ Roll movement of the 1960’s had several influential members, but the most influential of this era, and most of American Popular music, was the British Invasion group known as The Beatles. This group of “mop top” teenagers from Britain was heavily influenced by some of Americas “rock n’ roll musicians.” While many artists blew up in American during the British invasion (The Rolling Stones, The Who, The Kinks), The Beatles’ mass-audience appeal out-shadowed all others. “Please Please Me” is a straightforward, up-tempo love song containing many elements of rock n’ roll from previous years like an AABA form (pg. 306).  Its lyrics  emphasized the message with rhyming words as well as using “Please, please me”  as an adverb and then a verb.  Clearly, this song is exemplary of both the group’s lyrical and songwriting genius.  Compared to the harmonies of “Please, Please me”,  “A Hard Day’s Night” shows maturity and growth in the harmonic sense.  Chords outside of the 12-bar blues progression are used very effectively.  Take the third line in each of the A stanzas as an example, which resolves on the tonic chord for the phrase “feel all right,” first heard at about 0:21 of the song, to give the listener a musical reference of the singer’s resolve (pg. 307).  One of my all time favorite Beatles songs “Yesterday,” performed by Paul McCartney, crosses generational and stylistic divides in popular music (pg. 308).  It showcases melodic and harmonic genius, alternating between major and minor tonalities and pairing these tonalities with lyrics that fit them well. Often this song is used to demonstrate the use of these tonalities to depict emotions in my classes. The way the context can change with lyrics and tonality is truly astonishing and something that had not been truly experimented with until Paul McCartney.  The ascension of the phrase “all my troubles seemed so far away” using the melodic minor scale is indicative of this claim.  Further, the AABA form, straightforward lyrics, strophic form, and McCartney’s vocal approach certainly lend to the idea that this song very much evokes Tin Pan Alley models (pg. 308).  

Bob Dylan and the Urban folk music still existed through the Motown, soul, and rock n’ roll movements.  While his hits like “Blowin’ In The Wind” and “Like A Rolling Stone” led this movement, referencing many touchy subjects and acting as “protest songs,” (pg. 342).  Dylan would writhe albums that featured both acoustic and electric instrumentation for the idea of Urban Rock n’ Roll.  Dylan’s influence through these methods of songwriting allowed the idea for rock n’ roll to become “adult,” (pg. 344).  “Like A Rolling Stone” is written in strophic form, building the story through the use of music. It references growth, and often returns to the lyric “how does it feel?” to provide the listener an opportunity to place themselves into the song. This was a very common approach in both folk music as well as more popular music to allow the audience to feel involved in the approach of the music.