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Week 4 Lecture Notes

by: Sydney Furth

Week 4 Lecture Notes Music 262

Sydney Furth
GPA 3.8
Music 262 Rock Music: History and Social Analysis
Brian Carter

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About this Document

This is for Music 262! If you missed class at all this week or need another look at the notes here they are! Hope it helps!
Music 262 Rock Music: History and Social Analysis
Brian Carter
Class Notes
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This 4 page Class Notes was uploaded by Sydney Furth on Friday February 6, 2015. The Class Notes belongs to Music 262 at Washington State University taught by Brian Carter in Spring2015. Since its upload, it has received 87 views.


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Date Created: 02/06/15
Music 262 Week 4 Lecture Notes DooWop Emphasizes melody above rhythm Reflected increase though still limited commercial possibilities for black music The name DooWop didn t come until the 1970 s Star groups of the times The Platters The Coasters The Drifters Grew out of urban settings mainly East Coast Many onehit wonder groups Catchy melodies due to simplicity DooWop was the domain of innocent teenage love 1645 progression basic progression Axis of awesome 4 chords Roots of DooWop 1930 s Mills Brothers Sound of prerock era Wide range appeal Inspired younger groups to a polished sound in a more RB direction 1940 s The Ink Spots The Orioles and the Ravens Early RB DooWop Important transition groups Recorded many crossovers Led to more dance oriented RB vocal groups The Platters The Ink Spots of the rock era One of the most successful crossover acts in the 1950 s Rivaled only by Fats Domino in terms of record sales 19551960 had 18 top 40 hits The Teenagers Frankie Lymen Flip side of The Platters DooWop sensation of 1956 Featured 13 year old singing artist Frankie Lymen Biggest hit Why do Fools Fall in Love The One Shots Few DooWop groups managed to make it onto the charts or sustain careers Many groups became the one hit wonders Individuality was erased by the group Poor management and guidance Signed with small record labels that had no intention of promoting careers Styles that began developing in the 1960 s RB was pushing toward soul Motown was rising in Detroit Surf music rose out of California Teen idols were created in the Brill Building in New York Neo DooWop Early 60 s New vocal groups were shaping music Most NeoDooWop was up tempo and fun Two leading DooWop groups of the 60 s The Coasters and The Drifters Both groups affiliated with Jerry Leiber and Mike Stoller Jerry Leiber and Mike Stoller Great songwriting team of the 50 s The Rogers and Hart of RR Paved the way for the Brill Building writers and Phil Spector Productions Known best for music for Elvis and The Coasters String of RB success by the time they were 21 1st white writers to compose authentic RB Helped expand RB s range by incorporating a pop style emphasis Leiber wrote the words and Stoller wrote the music Revolutionized the music business 1st independent producers Not tied to a single record label The Coasters Early name of the group The Robins New personnel changed the name to The Coasters Use of playlets Playlets Story song writing that uses tongueincheek minidramas full of wit and insight The Drifters Uptown RB Leiber and Stoller turned to the more serious approach compared to The Coasters Developed a hightech production style Produced The Drifters did not write for them Referred to as Uptown RB Enhanced the drama romance and urban realism of The Drifters songs Many personnel changes during their tenure The Teen Idols Rock and Rolls turning point February 3 1959 The death of Buddy Holly is considered a turning point RR needed unifying leaders that would challenge the establishment Would not happen until the Beatles in 1964 Rock s Renaissance Money to be made not a passing fad Industry stepped in Back to band pop beat softened but still danceable The Teen Idols Bobby Valine was chosen to sing a tribute to Buddy Holly Most successful teen idol Bobby Vinton Good smooth voice Brill Building Pop Country turned to Top 40 formats Playlist dictated by popular demand not by money Tin Pan Alley s teenage music Songwriters dominated the industry not the singers Brill Building Real place Aldon music publishing A symbol for popular music in New York Formed in 1958 Most successful pop enterprise at the time Remained the leader until the Beatles and Motown Pop singers rarely wrote their own music Made to order songs with teen themes Songwriters were usually grouped in pairs music and lyrics Neil Sedaka and Howie Greenfield Wrote songs for Sedaka s solo career in addition to others 1st hit Stupid Cupid 1958 for Connie Francis Less varied in sound since they were for Sedaka Pop music as a blissful escape from the realities of life Gerry Goffin and Carole King Most prolific hit makers at Aldon Teen romance against urban landscapes Their variety and ability to change with times kept them in business Philadelphia and American Band Stand City was the most successful teen idol machine Created the stereotype of the neatly packaged pretty face Groomed for instant success Engine of the teen idol machine was the American Band Stand Began as a local televised dance party in 1952 Picked up nationally by ABC in 57 Dick Clark Host of Band Stand The Payola Scandal Alan Freed Bribery of an influential person in exchange for the promotion of a product service such as that of disc jockeys for the promotion of records The Girl Groups Most successful avenue for young black singers in the early 60 s A sound and style rather than an individual voice or image Firmly entrenched in the pop system Success usually linked to specific producer Producer wrote andor picked the songs for the group Projected HIS vision rather than the group s vision Not considered a threat to decency The music often has an underlying current of sexuality behind the innocence Guys wanted sex girls dreamed of love Roots trace back to the DooWop groups Nearly all the girls were from New York area Same as DooWop The Chantels Basically one shot groups Maybe was their one big hit in 1957 Important model for the girl groups that followed Their sound reflects a return to the simple sound of earlier DooWop Arlene Smith Lead singer The Shirelles High school students from Passaic New Jersey One of the most successful groups between 1960 and 1963 6 singles in the top 10 during this time Patterned themselves after the Chantells Bridged the DooWop and Uptown New York popsoul Groups that followed Shirelles caused a 2nd wave of the white girl groups to come Like DooWop there were many one shot groups Many solo singers came and went Males were idolized images of adolescent romanticism HE was so fine an angel my dreamboat my one true love etc The misunderstood rebel had a head of gold only girlfriend knew him The Chiffons High school friends from the Bronx formed in 1960 SingerSongwriter Ronnie Mack asked them to sing on a demo tape of some of his songs One song included He s So Fine Mack died of cancer shortly after the release The Marvelletes Motown s only true pop girl group The classy Supremes outgrew the image One of the only successes for Motown Their biggest hit Please Mr Postman Covered by the Beatles Motown reached its peak during and after the British invasion The Angels My Boyfriends Back One of the white girl groups of the early 60 s White groups lacked the gospelderived emotion of the black groups The ShangriLas Plays like Romeo and Juliet in 245 Played the bad girl image


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