WHATS THAT SOUND COVACH PDF
Download What s That Sound?: An Introduction to Rock and Its History Pdf online ; 2. Book details • Author: John Covach • Pages: pages. PDF What's That Sound?: An Introduction to Rock and Its History Ebook; 2. Book Details Author: John Covach,Andrew Flory Pages: Download PDF What's That Sound? Book Details Author: John Covach, Andrew Flory Pages: Publisher: W. W. Norton & Company.
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3. What's That Sound? An Introduction to Rock and Its History by John Covach & Andrew Flory b. Monday morning, most of the fans had already. PDF - An Introduction to Rock and Its History by John Covach W. W. Norton The leading text in the market, What's That Sound? strengthens. Library of Congress Cataloging-in-Publication Data. Flory, Andrew. What's that sound?: an introduction to rock and its history / Andrew Flory, John Covach.
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Are you sure you want to Yes No. Be the first to like this. No Downloads. Views Total views. Actions Shares. Embeds 0 No embeds. No notes for slide. Book Details Author: John Covach ,Andrew Flory Pages: English ISBN: Publication Date: Description The musicfront and center.
New listening guides and author videos reinforce this classic strength, while also providing additional historical and cultural context that allows students to make connections between the music and the times. Download or read What's That Sound?: You just clipped your first slide! Clipping is a handy way to collect important slides you want to go back to later.
Now customize the name of a clipboard to store your clips. Raw Power and Ambitious Lyrics. American Pop on Both Coasts L. New York. Garage Bands: No Experience Necessary From the Northwest: Top TV Rock: James Brown: Psychedelic Ambition: The Beatles after Sgt. Psychedelic Rhythm and Blues? Dylan and the Band. A Woodstock Nation: Live From. AM versus FM. Led Zeppelin in Concert, —79 by Susan Fast. Progressive Rock: Genesis and Pink Floyd.
Glam Rock and Rock Theater: Joni Mitchell and Neil Young. The Velvet Underground. The Roots of Punk in the United States. British Punk. The Rise of New Wave. Malcolm McLaren. Motown DJ Kool Herc: Dinosaur Jr. Alice in Chains. Cyndi Lauper. Tom Petty. Hall and Oates. George Michael. Ani DiFranco. Beck XIII. Girl Groups. System of a Down. Sarah McLachlan. Magnetic Fields. Limp Bizkit. Neutral Milk Hotel. They Will Come: Boy Bands. Guided by Voices. Liz Phair. Cee-Lo Green.
Taylor Swift. Avril Lavigne. Keith Urban. Linkin Park. Maroon 5. Vampire Weekend. The Roots. John Mayer. Kanye West. The s: Rock Is Nowhere. Chapter 5 Bob Dylan. Chapter 11 Michael Jackson. The majority of the content and framework of the Third Edition is the same as the Second Edition with some notable exceptions.
These boxes include pertinent factual information in a side-by-side format for each Listening Guide song in a given chapter. This Third Edition also adds coverage to several of the later chapters. Carrie Underwood. Readers will also note an effort to reorganize Chapter 1. In order to facilitate basic skills in approaching rock as music at the beginning of a course.
The structure and many features of the Third Edition will be familiar to users of the Second Edition. Chapter 10 has a revised discussion of the emergence of punk in the United States and the UK.
Norton has integrated the test bank. The Third Edition offers a test bank for instructors. As a consequence of this prolonged period of gestation. Our apologies in advance to those we may have overlooked. Readers will note a slight change of rhetorical delivery in the new Chapter This Third Edition features a new StudySpace website wwnorton.
Acknowledgments Like most textbooks. Addi- tionally. Easy to operate and designed for lecture presentation and individual study. In order to function properly. In addition to a more pleasing layout and typeface. Ancillaries and Emedia A talented team of Norton specialists and college instructors has created a new set of ancillaries and emedia to support teaching in the college environment.
These resources are free to adopters. Diane Cardarelli. David Englert. Michael Stepniak. Gary Pritchard. Mark Clague. Ben Fong-Torres. James Haar. Norma Coates. Trevor deClercq. Jerry Skelley. Jennifer Gunderman. Chris Chamis. John XX. Tim Hughes. Over the years. Mark Butler. Andy is especially grateful to current and former colleagues at Shenandoah University and Carleton College. Joseph Poshek. Thanks also to the authors of the emedia and ancillary materials which support this book: Laura Lohman for the StudySpace outlines and quizzes.
John M. Phil Ford. Many friends and colleagues have also given us wise. Jonathan Hiam. Akitsugu Kawa- moto. Guthrie Ramsey.
John Jackson. Lori Burns. Paul Cole. Richard Rischar. James Grier. This special group of students includes Mark Spicer. Thanks are also due to the instructors who reviewed and commented on parts of various editions of the book: John Brackett.
Justin London. Melinda Russell. Sev- eral incredibly knowledgeable students provided Andy with administrative assis- tance during in his early time working on this book. Anna Stephan-Robinson. At the University of Rochester. Paul Harris. Tim Riley. Nikki Melville. Bryon Grigsby. Mark Spicer. Joe Gennaro. Christina Brandt. John is most grateful for the continued support of Tom Leblanc now at the University of Miami.
Roberta Freund-Schwartz. These colleagues have supported his research and teach- ing in more ways than he can list here. Miles Campbell.
John Buzby. Alan Weiderman. Joanna Olmsted. Albin Zak. Heather Miller. Marcus Dickman. Graeme Boone. Jamal Rossi. Marc Medwin. Bente Hansen. Jeff Chang. Laura Lohman.
Adam Olson. Alex Freeman. Richard Mook. Stefan Zajic. Betsy Marvin. Jocelyn Neal. David Leblanc. Martha Bausch. We would like to thank Gary Giddins. Michael A. Peter Lennie. Robert Bowman. Joel Mauger. Mark Katz. Walter Everett. Keith Salley. Rob Wegman. Hec- tor Valdivia. Sarah Nicholson. John Howland. Dan Harrison. Larry Archbold. Jason Titus. At Shenandoah. Tracy Fitzsimmons. Carl Woideck.
Susan Fast. Jon Finson. Theo Cateforis. Karl Raudsepp. Billy Barry. Annie Randall. Crystal Asmussen. David Carson Berry. David M. Ron Rodman.
Travis Stimeling. Jeff Donovick. Arthur White. Peter Lesser. Most of all. Minnesota September XXI. John Covach Rochester. Steve Hoge deserves huge thanks for his work as the main editor of both media and text for this Third Edition. The excellent staff at Norton also deserve a big thanks. Husser for the interactive Listening Guide development. For his wisdom and one-liners. Roby Harrington and Maribeth Payne. Thanks also to Lory Frenkel.
Despite the acknowledged importance of rock music. Alice Cooper. But even this more encompassing usage is still problematic and includes seeming contradictions. As music historians look back on the last century. Rock continued to push the envelope in later years: In the mids. Issues such as payola and obscene lyrics have even been the focus of federal government hearings. While only a small portion of rock has been the source of controversy or cultural struggle. Few will argue that artists such as Elvis Presley.
Can s soul be considered rock? How about folk or rap? Is all pop also rock. The chapters that follow consider rock in an inclusive manner. Studying rock is not new. Parliament Funkadelic. All these sources of information about the history of rock can be useful. Magazines such as Rolling Stone and Mojo provide readers with useful information about rock musicians. Remember that magazines and broadcast stations generate revenue through the sale of advertising. Bill Haley and the Comets. Led Zeppelin.
Be aware. In many cases. But artists like the Supremes. Bessie Smith. It is in the best interests of media outlets to deliver what they believe people want most. Books targeted at the general reader—often written by journalists and music critics—are plentiful and varied. This book will not completely resolve these kinds of questions. Some of this information may be accurate. For those who have not studied rock as an academic subject. This textbook will attempt to provide a balanced and fair account of the history.
Today there is more popular music available to listeners than at any other time in the history of recorded music. In the chapters that follow.
The rock era included a vast amount of music. Jimi Hendrix. The following chapters will provide reliable information. But what about Taylor Swift bottom left or the Supremes bottom right? There will be no attempts to convince you to like a style of music. Some artists or groups were more important in their day than they have been since. Other artists have become more popular over time.
Many more artists and groups will enter the story than may typically appear in general interest accounts. More importantly for this book is that charts can help us avoid the fan mentality—in a sense. Many fans of rock are passionate about the music they like. This is per- fectly natural.
As fans. Charts help us draw general conclusions about the popularity of a song or album at the time it was released. The Fan Mentality. Among scholars. This book will make frequent refer- ence to chart positions. The Four Themes. If you were studying American history. Kennedy and Richard M. Some chapters cover the same years from different angles. Chapter 4. Chapter 5.
Ronald Reagan and Jimmy Carter. But as students of rock music. The popular Google Books search engine also provides access to an extensive collection of Billboard magazines. When it comes to studying music.
The Ups and Downs of Chart Positions. The RIAA website www. Almost everyone is familiar with charts that rank hit songs and albums by popularity for a given week.
For example. An objective history of the last few decades would consider John F. But in a broad sense. Each chapter also raises a set of interpretive issues that provide insight into scholarly.
The following chapters each take a three. It can also be useful to compare how certain songs did on pop charts with the way they fared on rhythm and blues or country charts. But what does it mean to be a fan? Fans of rock music listen frequently to the music of a particular artist. Just as important is the development of cable television that facilitated the introduction of MTV in the early s.
Issues of race. While interpretive angles change from chapter to chapter. How did this style arise? When did it peak in popularity? Does it still exist in a sub-. The rise of punk from a small. In a sense. As the chapters unfold. Tracking the Popularity Arc. In the realm of technology.
No style of music exists in a vacuum. For instance.
The American punk style. In the discussion of psychedelia in Chapter 7. Each of these themes play an important role in the development of rock music as a musical style and a force in popular culture. The music business has changed dra- matically since the early s. By the early s. To keep the popularity arc in mind for any given style. The Listening Guides in this book will help you identify the structural features of rock music.
While the circumstances surrounding a style. The basic formal types are introduced below. But you will probably need to do your own research to answer the last two. In the broadest sense. While it is legally credited to Brenston. Brenston with saxophone is shown with Ike Turner at the piano. Rock gener- ally uses a limited number of common formal types. A familiarity with basic techniques used to record rock music will also help us understand some of the important differences between studio record- ings.
How are elements of this style incorporated into current mainstream pop? Understanding formal structure will help you hear new things in the music itself and perceive similarities between musical styles that may otherwise seem very different. You may be surprised to discover how many older rock styles are still thriving. In addition to the sounds of rock. Despite the irregularity of verse 2. It repeats a single section of music eight times and.
When you have fol- lowed the form with the diagram. Simple verse form is common in rock music and we will see many instances of it in the chapters that follow. This particular track uses drums. In addition to form and rhythm in this song. To show how the song is laid out. Once you begin hearing form in music. Try to listen to the song all the way through fol- lowing only one of these instruments.: You might count it like this: Each section is also marked by a snippet of lyrics or some other description to help you locate it.
If you are having trouble keeping up. Verse 2 can be counted like this: This is likely a mis- take. Timings Section Description 0: Most musical styles work within the constraints of a small number of formal types. Simple verse.. The twelve-measure structure of the bar blues is distinctive because of the way its measures fall into three groups of four.
A single beat can be divided into either two or three equal parts. In this book. Once this twelve-measure pattern is in place. Formal types and musical styles are often linked to one another. Measures may also contain two or three beats. You may have noticed that sheet music almost always has a time signature provided at the beginning of the song or piece. This is a common struc- tural pattern found in rhythm and blues.
In each case. A bar blues is a structural pattern that consists of twelve groups of four-beat measures. Meters are grouped by combining the number of beats per measure with the way each beat is divided. Perhaps the best place to begin the study of form in rock is with the bar blues. These groups can be seen in the measure length.
Most of the music in this book will employ four-beat measures. These ways of organizing rhythm and beats in music are called meter. For our purposes.
Phrase one begins with the lyrics. The reason is more pragmatic than you might think: For an example of a bar blues that uses this lyrical structure.
The I chord is a C chord. Chords in any key can be organized by the scale for that key. Using our Roman numerals. This shows the chords that are typically played in those measures. Notice that eight of the nine phrases in the song are twelve measures long—the only exception is the fourth phrase. If we are in C. The entire bar blues structure appears in the introduction. Note that there is a chord on every beat. Notice that Roman numerals occur under each measure number.
If a musician knows the Roman numerals. Chords are combinations of notes played together—think of somebody strumming chords on a guitar or bang- ing them out on the piano. After you have listened to the song two or three times. The chart below illustrates some of the structural properties of bar blues. Though it can occur in many styles of pop.
In the key of C.
Why would musicians bother with arcane Roman numerals when they could just write C. Claude Feaster. Nonsense syllables followed by entrance of saxophone.
Repetitive structures like the bar blues and the doo- wop progression often combine to form larger structural patterns. Nonsense syllables. Simple verse with several interludes and a bridge. Carl Feaster. As these patterns repeat. This recording dropped quickly off of the charts after a cover version was released by the Crew Cuts.
Saxophone solo. Repeat of verse 3. Electric guitar. Repeat of full interlude. AABA Form. Simple verse.
This is one of the most common formal patterns in Tin Pan Alley songs and usually occurs in a bar scheme that combines four 8-bar phrases. The song form most associated with mainstream pop before the birth of rock and roll is AABA form.
A form that employs only verses is called a simple verse form. Tommy Durden. Listen to this track and see if you can hear the similarity. Forms like contrasting verse-chorus may also include a bridge. When a single musical pattern is used as the basis for both verses and choruses in a song. When you try to count measures during the verses of this song. While the bar AABA is common. This extended bridge structure produces a complete AABA pattern of thirty-six measures.
A chorus is a section that repeats the same music and lyrics intact in each presentation. The A sections are 8 measures long. Unlike a simple verse-chorus.
When the entire AABA form is repeated. Contrasting Verse-Chorus. Simple Verse-Chorus. Note that the melody portion of a song may change from verse to chorus.
The diagram on p. A second aspect of this song involves irregular counting of measures. Remember that verses use the same music with different words. The verses and choruses in this song are built on the same bar progression. Vocals delivered in stop time. It provides fans and students of this music with a glimpse of how musicians. The musical instruments used in rock music. While we will encounter more complicated formal designs later in the book. Drums and Percussion. Raucous piano solo.
While most rock fans can tell the difference between an electric guitar and a keyboard. In many ways. Listening for form in rock music helps us gain a deeper understanding of how music is structured.
Full band in. Simple verse-chorus. At the heart of the rhythm section is the drummer. As before. Acoustic guitar. Released before the era of country charts in the United States. There were no Billboard country charts until The task of the rhythm section is to establish a solid foundation for singers.
Guitar solo. Guitar accompaniment. AABA Verses and bridge based on different music. Based closely on chorus. Contrasting verse-chorus Verses and choruses based on different music. Jerry Allison. Simple verse-chorus Verses and choruses based on same music. Guitar solo over 12—bar blues. Contrasting verse-chorus with instrumental bridge.
Solo guitar featured. The rhythmic patterns drummers play work something like the gears of a clock. The bass both acoustic and electric usu- ally has four strings that match the bottom four strings of the guitar. Much early rock music used the acoustic upright bass. Harmony in Motion: Rhythm Guitar and Keyboards. A drummer may also use several cymbals. The Low Down: Electric Bass. The bass and snare drums are generally played at slower intervals. Rhythm guitar can be played on either acoustic or electric guitar.
The high-hat or ride cymbal is often used for the fastest notes. A typical drumbeat is shown below. Often the bass player will create their part around the rhythmic pattern played on the bass drum. More often. The distance between the tuning of guitar and bass strings is what musicians call an octave. In s rockabilly.
Most drummers will use one pattern for verses and another for bridges or choruses. Within the rhythm section.
Most drummers also use medium-sized drums called tom-toms. The electric guitar pro- duces little sound on its own. Tom-toms that are mounted on the bass drum are called ride toms. Sometimes if the bass locks in with the bass drum. Like the rhythm section parts described above.
Singers are sometimes very free with the rhythmic placement of their melody notes. In the Spotlight: Lead Singers and Backup Vocals. However the parts are organized. If keyboards or organs are used with rhythm guitar. Instrumental Solos. Many listeners attend as closely to the lyrics as to the melody that projects them.
Sometimes the piano. Many solo vocalists are also accompanied by background vocals. In order to create contrast in arrangements. How It All Fits Together: Strings can make an arrangement sound bigger and more elegant.
The guitar and bass are playing almost the same part. It is easy to hear each instrument during the introduction. The song begins with the electric guitar alone. An arranger has to be careful that the horns or strings added to sweeten a track stay out of the way of the rhythm section and singers.
Sometimes an arrangement can feature several solos. Horns and Strings: Sweetening the Sound. Strings are often saved until late in the arrangement and are employed to give the end of the track a convincing lift. In this regard the solo is itself subordinate to the sung sections of the track although with some bands— like Santana—this relationship can be reversed. Horn sections often consist of a com- bination of trumpets. The track follows the contrasting verse-chorus formal pattern: The job of the rhythm section remains the same as it was during the other sections of the song: The instrumental solo often makes the return of the vocals sound fresh.
The playing the electric bass in concert. The third time through the gui- tar riff. Notice that the guitar is also doubled by the organ here. As the chorus begins 1: Keyboardist Rick Wakeman from the progressive rock group Yes. The arrival of the chorus during the solo is particularly dynamic 3: The bass moves in faster notes during the solo. As mentioned above. As we continue our study of rock music. While rock music sometimes gives the impression of musical simplicity. The tapestry of musical texture often does not draw attention to itself.
Keyboard instruments most common in rock music are piano. There is. Whether we are aware of it or not. Since the early s live performance technology has made it increasingly possible to combine acoustic instruments with louder electric ones. This approach to recording is frequently used in classical.
Paul was able to create a recorded sound that was very much a consequence of the recording technology that produced it. The second approach to recording is to exploit the possibilities offered by the studio. Whenever a sound is made.
On these types of recordings. For scholars with this view. There are two principal approaches to thinking about what a recording represents.
Reverb and Echo. This often produces sounds that would be impossible to re-create in a live setting. When taking the audio. The idea. The recording studio also allows instruments to be combined in ways that would not easily work in a natural acoustic setting. Architects who design concert halls are keenly aware of this. You may have noticed that if you adjust the treble and bass settings on your.
Together with reverb. When an engineer knows that she will use reverb. In rock. Mountain High: Equalization EQ. This sound can be produced electronically as well. Major record companies have in the past maintained their own studios that have been acoustically engineered for the best natural sound. The clapping actually two-by-fours being slapped together is drenched in a rich reverb that creates the sound of a large gymnasium or some other big.
Reverb is different from echo. Reverb is used on almost all rock recordings. This dry sound is then fed through the reverb device to produce the desired sound. In the natural world.
River Deep. Different kinds of reverb can also be used on different instru- ments or voices. Frequency also plays a major role in recording techniques. Stories abound of vocals that were recorded in bathrooms. Echo tends not to be of much concern to those who employ the audio snapshot approach.
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