Be able to associate specific performers with appropriate performance style(s).
Know the characteristics of each of the three musical styles that fed into the emergence of Rock & Roll; i.e., melody, harmony, rhythm, instrumentation, form, lyrics, & vocal style.
Know the "Elements of Music" and the "Musical Structures" as discussed in class.
Be able to identify the correct definition of the following musical terms:
rhythm
tempo
melody
range
conjunct
disjunct
harmony
chord
triad
timbre
texture
dynamics
musical form
What are the 3 questions you must ask yourself when attempting to determine the difference between monophonic, homophonic, and polyphonic textures?
What are the three most likely possibilities at any juncture in the musical form?
From what country did most of the art rock "explorers" come?
What is the problem (evident in the Moody Blues' "Days of Future Past") with most rock musicians' concept of classical music?
What rock keyboard player received a commission from the BBC to compose a piece for rock group and orchestra? For what rock band of the late 60s & early 70s did he play? What was the name of the 6-movement piece he composed to fulfill this commission?
What rock band, above all others, embraced the "rock opera" as a means of creative expression?
What is the name of the premier keyboard player who, apart from his impressive solo output, played with an art rock band named Yes from 1971 to 1974, and then again from 1976 to 1980?
What keyboard player, more than any other rock artist, has persistently and successfully pursued the concept of art rock?
What does the acronym "ELP" stand for?
Which of the six typical approaches to art rock is exemplified in ELP's "Pictures at an Exhibition" (1972)? "Karn Evil 9"?
What inherent difficulty was created with the attempt to recreate live performances of complex songs like "Karn Evil 9"? How were they resolved by ELP?
Who was art rock's premier iconoclast, attacking and ridiculing everything through his music? What was the name of his group, becoming underground favorites in L.A. during 1965?
What is unique about Zappa's "Help, I'm a Rock" (1967) in comparison to other art rock compositions we have heard thus far? How does this composition relate to what was stated in your text regarding most rock musicians' conception of "classical music?"
What was the effect of tragedies like the events at Altamont & Kent State--along with the deaths of Jimi Hendrix, Janis Joplin, & Jim Morrison--have on the youth movement of the 1960s?
As a result, how might the new mentality of the 1970s might be characterized?
Musically, what was the reaction of the 1970s youth to the complexities inherent in the jazz rock and art rock styles of the late 60s?
What is "formatting?"
Rock music during the 1970s exhibited a fragmentation of the market similar to what occurred in the early 60s. This fragmentation was corrected in the 60s by the overwhelming presence of the Beatles. What were the realities during the 70s that eliminated the possibility of such a "giant" to emerge?
Who were the six major record companies by the end of the 1970s?
At the end of the 60s, there was a "second wave" of British bands. What bands does your text suggest as representative of this movement?
What style evolved out of mainstream rock bands who moved toward art rock? mainstream bands that increased the "hardness" of their sound?
What was the name of the guitarist who had been with John Mayall's Bluesbreakers and the Yardbirds, and formed one of the first rock trios? What was the name of his trio?
What keyboard vocalist, having played with the Spencer Davis Group formed his own band in late 1967? What was the name of his band?
What rock vocalist helped form the Jeff Beck Group and then performed with Faces before moving on to a highly successful solo career?
What British artist--representing a softer style of 70s rock--signed the largest contract in rock history ($8 million) with MCA Records in 1974? What artist topped this contract in 1975? with what record company?
What San Francisco-based black musician combined soul music with psychedelic rock to create "psychedelic soul?" What was the name of his 7-member band?
Amidst all the fragmentation, subcategories, cross-fertilizations, and individual styles of the 1970s & 80s, what musician/songwriter represented the mainstream rock style?
Which of Springsteen's singles made it to number 1?What classic tune by Derek in the Dominoes (1970) was re-recorded by Eric Clapton in 1992? Provide at least three distinct differences in the music of these recordings.
Name three groups that may be categorized as 1970s progressive rock bands.
What new style of jazz rock was born in the 1970s? What seminal album (1970) initiated this trend? Who was the artist?
What two characteristics distinguished the singer-songwriters of the 1960s (e.g., Dylan, Baez, and Simon & Garfunkel) from those of the 70s (e.g., Mitchell, King, Taylor, Croce, etc.)?
What Jamaica-influenced style of music appeared in the U.S. and England during the 70s? Who was the musical leader of this trend?What band of the 1970s (and later), lead by lead singer/percussionist Maurice White, exhibited tight, highly polished coordination in the rhythm section, punctuating horn riffs, well-harmonized vocals, and elements of jazz fusion?
What soft rock singer-songwriter began his music career composing & performing commercial jingles?
What record company executive was largely responsible for signing Mariah Carey to a recording contract? What was their eventual relationship?
According to the Billboard Hot 100, what was the number 1 hit from 1955 to 2009? Who performed on this recording?
As country artists entered the rock mainstream during the 1990s, who was the artist who initially led the pack of young country singers? Name four other significant young country artists who released debut albums in 1989.
To what rock bands and performers does Garth Brooks give credit as influential in the development of his high-tech, high-energy stage show?
In what way(s) does the commercial success experienced by Garth Brooks provide an interesting exception to the image-conscious aesthetic that often drives the popular music industry?
Know what the author means by the following statements:
What is the cycle referred to by the author in relation to Basic Statement #1? Can you provide an example in addition to the one given in the text?
What is the problem inherent in the game of "one-upsmanship" as new bands attempt to attract attention and distinguish themselves from all of the other up-and-coming artists?
What highly successful band of the 1960s provides an early example of the "bad is good" concept?
Why is the following statement prejudicial? "Real rock" (i.e., simple, 3-chord, duple meter rock) is for "real people" (i.e., the average middle- and lower-income working class).
Is the fact that music affects behavior "good" or "bad?" Why?
Do you believe that rock performers have gone too far in their attempt to gain attention with onstage and off-stage) antics? If so, why? If not, how can such behavior be justified?
What was the purpose of the hearing held before the US Senate Committee on Commerce, Science, & Transportation in 1985, instigated by the Parents' Music Resource Center?
According to your text, does product labeling constitute censorship?
Is the rock music industry driven by the "free will" of those who listen to the music and, in some cases, decide to buy the product? Why or why not?
What solution to the status quo was suggested by Frank Zappa at the Senate hearing mentioned above?