COURSE TITLE: POETRY OF ROCK: 1960ʼs – Present

COURSE TITLE: POETRY OF ROCK: 1960 ʼ s – Present

NO. OF CREDITS: 3 QUARTER CREDITS

[semester equivalent = 2 credits]

INSTRUCTOR: SHERRY BOZORTH, M.A.I.S.

360/225-6186 – home bozdv54@gmail.com

WA CLOCK HRS:

OREGON PDUS:

30

30

ASSIGNMENT CHECKLIST

This assignment checklist will help you plan your work. Please check off completed items.

CLOCK, PDU, 400 LEVEL, or 500 LEVEL ASSIGNMENTS

A. Information Acquisition:

___#1: Describe in 1-2 pages your teaching situation and interest in poetry in song.

Send to instructor.

___#2: 1960s-Read. Listen. Analyze lyrics. Make “wish list” (2-3 pages). Send to instructor.

___#3: 1970s-Read. Listen. Analyze. Make “wish list.” Collage. Visual art (2-3pages). Send to instructor

___#4: 1980s-Read. Listen. Analyze. Make “wish list,” Write lyrics.(2-3 pages). Send to instructor.

___#5: 1990s-Read. Listen. Analyze. Make “wish list, Write Haiku lyrics (2-3 pages). Send to instructor.

___#6: 2000s-Read. Listen. Analyze. “Wish list,” Write questions (2-3 pages). Send to instructor.

___#7: 2010s-Read. Listen. Analyze lyrics. Make “wish list” (2-3 pages). Send to instructor.

NOTE: If you are doing this course for Clock Hrs or PDUs then you are done.

400 & 500 LEVEL ASSIGNMENTS

B. Learning Application:

___#8: Make comparisons of music. Write and implement lesson plan. (3-4 pages) Send to instructor.

___#9: Discuss techniques of poetry and fiction. Implement plan. (3-4 pages) Send to instructor.

500 LEVEL ASSIGNMENT

---#10: In addition to the 400 level assignments, complete one of the following and send to instructor .

• Review a book from the bibliography that interests you. Write 2-3 pages summarizing the sections most relevant to your interests and/or teaching situation. Indicate how they are relevant and include your reflections upon their impact in your personal and professional situation.

• An assignment of your own choosing with the instructor ʼ s prior approval.

400 & 500 LEVEL ASSIGNMENT

C. Integration Paper:

__#11: Complete the 2-3 page Integration Paper as described in the syllabus. Send to instructor.

NOTES:

• You may work collaboratively with other teachers and submit joint assignments on all but the final

Integration Paper, which must be individually authored and submitted.

• Alternatives to written assignments (video or audio tape, photo collage, a collection of products, letters to editor, brochure and Web pages) may be submitted as substitute assignments with the instructor ʼ s prior approval.

• To maintain privacy, please do not refer to students in your papers by their actual names, but rather use an alias or designation such as “Student A.”

Poetry Of Rock 1 Approved 7/19/2011

COURSE TITLE: POETRY OF ROCK: 1960s-Present

NO. OF CREDITS: 3 QUARTER CREDITS

[semester equivalent = 2 credits]

WA CLOCK HRS:

OREGON PDUs:

INSTRUCTOR: SHERRY BOZORTH, M.A.I.S. bozdv54@gmail.com

360/225-6186 – home

30

30

COURSE DESCRIPTION:

The lyrics of rock and pop rock tunes are rich in many elements of the literary arts, including metaphor, simile, narrative and irony, and reflect the creative techniques of poetry, fiction, and other expressions of literature. Explore rock lyrics over five decades, from the 1960s to present artists. Recognize how song lyrics reflect the political, socio-economic, trends, and current events. Compare how meanings and interpretations compare over the era of rock music. Use the visual arts, prose, Haiku poetry, and other creative methods to interpret the meaning of song lyrics, and obtain ideas for lesson plan writing for language arts, visual arts, music, and social studies students.

There is no required text or additional materials fee.

LEARNING OUTCOMES :

Upon completion of this course, participants will have:

1.

Resources for exploring and analyzing the poetry of rock lyrics from 1960s – present.

2.

A compilation of song lyrics, along with a “wish list” of recordings, age-appropriate for use with students.

3.

Ways to integrate the poetry of rock into music, visual arts, and/or language arts curriculum.

COURSE REQUIREMENTS:

Completion of all specified assignments is required for issuance of hours or credit. The Heritage Institute does not award partial credit.

HOURS EARNED:

Completing the basic assignments ( Section A. Information Acquisition ) for this course automatically earns participant ʼ s their choice of 30 Washington State Clock Hours or 30 Oregon PDUs. The Heritage Institute is an approved provider of Washington State Clock Hours and Oregon PDUs.


UNIVERSITY QUARTER CREDIT INFORMATION

REQUIREMENTS FOR UNIVERSITY QUARTER CREDIT

Continuing Education Quarter credits are awarded by Antioch University Seattle (AUS). AUS requires

75% or better for credit at the 400 level (Upper Division) and 85% or better to issue credit at the 500 level

(Post-Baccalaureate). These criteria refer both to the amount and quality of work submitted.

1.

Completion of Information Acquisition assignments 30%

2.

Completion of Learning Application assignments

3.

Completion of Integration Paper assignment

40%

30%

CREDIT/NO CREDIT (No Letter Grades or Numeric Equivalents on Transcripts)

Antioch University Seattle (AUS) Continuing Education (CE) Quarter credit is offered on a Credit/No

Credit basis; neither letter grades nor numeric equivalents are on a transcript. 400 level credit is equal to a “C” or better, 500 level credit is equal to a “B” or better. This information is on the back of the transcript.

AUS CE quarter credits may or may not be accepted into degree programs. Prior to registering determine with your district personnel, department head or state education office the acceptability of these credits for your purpose.

ADDITIONAL COURSE INFORMATION

REQUIRED TEXT: none

MATERIALS FEE: none

HEADING REQUIRED FOR ALL ASSIGNMENTS:

A heading is required; please use the following format.

Your Name: Instructor Name:

Course Number:

Date:

Course Name:

Level: Clock/PDU/Credit (400 or 500)

Assignment #:


ASSIGNMENTS REQUIRED FOR HOURS OR UNIVERSITY QUARTER CREDIT

A. INFORMATION ACQUISITION

Assignment #1:

Describe in 1-2 pages your teaching situation, interest in the poetry of rock, music, visual art, and/or language arts, and what you want to obtain from this course.

Send to instructor: bozdv54@gmail.com

. Subject line to read: (course title & assignment #1)

NOTE: For assignments #2 - #7

1) Choose and click on 3 song titles for each artist listed below, read the lyrics and the various anonymous interpretations. Using itunes.com or amazon.com (click on “download mp3s” and click on arrow to the left of each title), listen to samples of the songs. Write your own 1 paragraph interpretation of one of the songs. Begin making a “wish list” of recordings appropriate for use with students.( NOTE: For some assignments, specific artists have an additional task.)

2) Complete the assignment and send the following to the instructor: Artist ʼ s name, title of song, song lyrics, your one paragraph interpretation of the meaning of the lyrics, along with a

“wish list” of recordings appropriate for use with students. Also include any additional items listed for specified artists in the assignments (collage ʼ , piece of visual art, Haiku poem, song lyrics in the form of prose, small group questions, etc.)

Assignment #2: (2-3 pages)

1960s: a) Bob Dylan: Go to website, http://www.lyricinterpretations.com/Bob-Dylan b) Paul Simon : Go to website, http://www.lyricinterpretations.com/Simon-and-Garfunkel c) 1960s Artist of your choice (see supplementary materials for ideas)




1970s: a) Queen: Go to website, http://www.lyricinterpretations.com/Queen ( NOTE : In addition to this assignment, make a collage ʼ representing your interpretation of the song lyrics.) b) Rolling Stones: Go to website, http://www.lyricinterpretations.com/The-Rolling-Stones c) 1970s Artist of your choice (see supplementary materials for ideas) NOTE : In addition to this assignment, choose a work of visual art to represent your interpretation of the song lyrics.)




1980s: a) Billy Joel: Go to website, http://www.lyricinterpretations.com/Billy-Joel b) Pink Floyd: Go to website, http://www.songmeanings.net/artist/view/songs/46/ ( NOTE : In addition to this assignment, re-write the song lyrics you selected to interpret into prose form

(complete sentences, paragraph form.) c) 1980s Artist of your choice: (see supplementary materials for ideas)





1990s: a) Nirvana: Go to website, http://www.lyricinterpretations.com/Nirvana b) Alanis Morissette : Go to website, http://www.lyricinterpretations.com/Alanis-Morissette

(NOTE: In addition to this assignment, write a Haiku poem corresponding with your interpretation of the lyrics. (see supplementary materials for Haiku form) c) 1990s Artist of your choice: (see supplementary materials for ideas)




2000s: a) John Mayer: Go to website, http://www.lyricinterpretations.com/John-Mayer (NOTE: In addition to this assignment, write a set of 3-4 questions to stimulate song interpretation discussion in small groups.

b) Amy Winehouse: Go to website, http://www.lyricinterpretations.com/Amy-Winehouse c) 2000s Artist of your choice: (see supplementary materials for ideas)




2010s: a) Lady Gaga: Go to website, http://www.lyricinterpretations.com/Lady-Gaga b) Black-Eyed Peas: Go to the website, http://www.lyricinterpretations.com/Black-Eyed-Peas c) 2010s Artist of your choice: (see supplementary materials for ideas)



This completes the assignments required for Hours.

Continue to the next section for additional assignments required for University Quarter Credit.


ADDITIONAL ASSIGNMENTS REQUIRED FOR UNIVERSITY QUARTER CREDIT

B. LEARNING APPLICATION

In this section you will apply your learning to your professional situation. This course assumes that most participants are classroom teachers who have access to students. If you are not teaching in a classroom, please contact the instructor for course modifications. If you are a classroom teacher who needs to start and complete this course during the summer, please try to apply your ideas when possible with youth from your neighborhood, at a local public library or parks department facility (they will often be glad to sponsor community-based learning) or with students in another teacher ʼ s summer classroom in session.

Assignment #8: (required for 400 and 500 level)

Make a comparison of the music explored through the six decades, including topics such as language and slang, or what the lyrics might say about society or historical events. Using the activities from the assignments (e.g. reading other interpretations, small group discussions, making collages or locating visual art works to interpret lyrics, writing Haiku or prose) write a lesson plan on interpreting song lyrics.

Implement with students, family, or friends. Write about your findings and send it along with lesson plan to instructor. (3-4 pages)



Assignment #9: (required for 400 and 500 level)

The lyrics of pop tunes are rich in metaphor, simile, narrative, irony, and other elements of the literary arts. Implement a lesson with students, family, or friends, by having them listen to musical selections from assignments #2 - #8. Guide them into a discussion/interpretation of the lyrics. If possible, discuss how lyrics reflect the figurative language and creative techniques of poetry, fiction, and other expressions of literature. Write about your findings. (3-4 pages)



500 LEVEL ASSIGNMENT

Assignment #10 (500 Level only)

In addition to the 400 level assignments, complete one of the following:

Option A)

Review a book from the bibliography that interests you. Write 2-3 pages summarizing the sections most relevant to your interests and/or teaching situation. Indicate how they are relevant and include your reflections upon their impact in your personal and professional situation.


. Subject line to read: (course title & assignment #10-A)

OR

Option B)

An assignment of your own choosing with the instructor ʼ s prior approval.


. Subject line to read: (course title & assignment #10-B)

400 & 500 LEVEL ASSIGNMENT

C. INTEGRATION PAPER

Assignment #11: (Required for 400 and 500 Level Credit)

Write a 2-3 page Integration Paper answering these 5 questions:

1. What did you learn vs. what you expected to learn from this course?

2. What aspects of the course were most helpful and why?

3. What further knowledge and skills in this general area do you feel you need?

4. How, when and where will you use what you have learned?

5. How and with what other school or community members might you share what you learned?

Send to instructor: bozdv54@gmail.com. Subject line to read: (course title & assignment #11)


INSTRUCTOR COMMENTS ON YOUR WORK:

• Please indicate by email to the instructor if you would like to receive comments on your assignments.

• If you would like to receive your material back, please send a packet with your address and sufficient return to instructor ʼ s address (will email address after registration.)

• Please do not send a prepaid postal receipt, as they are not valid after the day of purchase.

QUALIFICATIONS FOR TEACHING THE COURSE:

Sherry Carlson Bozorth, M.A.I.S., has been an educator of elementary and middle school students for over three decades. She received her bachelor's degree in education and music education from Western

Oregon University, and her Master's Degree in Interdisciplinary Studies from Oregon State University, in music education and ethnomusicology (with emphasis in African music and the music of the Pacific

Northwest Coastal Native American). She has presented several mini-workshops to elementary music specialists, and has volunteered as a consultant to new music specialists in her area.

Sherry has taught action-filled, fun, creative, “hands-on” workshops for The Heritage Institute since 1998, adding creative and innovative independent study distance courses in 2009, and has been an adjunct professor of music education at a university in Portland, Oregon.


POETRY OF ROCK: 1960s – Present

BIBLIOGRAPHY

Boucher, David, Dylan and Cohen: Poets of Rock and Roll, 2004, paperback, 256 pages, ISBN-10:

0826459811Dylan and Cohen are widely acknowledged as poets of popular songs, emerging into the industry during political “anti-establishment” anger, psychological, religious, and social themes in poetic lyrics.

Elledge, Jim, Sweet Nothings: An Anthology of Rock and Roll in American Poetry, 1994, paperback, 312 pages, ISBN-10: 0253208645

This is not a collection of rock lyrics, but a collection of poetry from the 1960s-1980s about rock music.

Eliot, Marc, Paul Simon: A Life , 2010, hardcover, 336 pages, ISBN-10: 0470433639

Some rock historians have referred to Paul Simon as the biographer of cultural icons of several decades.

This book talks about his association with Art Garfunkel in the early days (called “Tom and Jerry”), through the height of their popularity in the 1970s, their break-up, and Paul ʼ s continued success as a singer-songwriter with meaningful lyrics.

Goldstein, Richard, the Poetry of Rock, 1969, paperback, ASIN: B000QA41RC

A collection of great rock lyrics from the 1960s, from Chuck Berry, Lennon-McCartney, Paul Simon, and leonard Cohen through the Doors and beyond.

Hinchey, John, Like a Complete Unknown: the Poetry of Bob Dylan ʼ s Songs, 1961-1969, paperback,

2002, 277 pages, ISBN-10: 0972359206

This book explores the poetry of Dylan ʼ s songs, giving some attention to individual songs in the context of events in society, giving insights into the power and appeal of those songs.

Wells, Jonathan, Third Rail: The Poetry of Rock and Roll , 2007, paperback, 224 pages, ISBN-10:

9781416524892

This is a collection of song lyrics from “rock” songs, includes personal flashbacks, and some jazz. More aimed at older rock (1960s-1980s)


POETRY OF ROCK: 1960 ʼ S – Present

SUPPLEMENTARY MATERIALS

Assignments #2 - #7:

Use either or both of the following websites (or any other websites that interpret lyrics):

1) “Sing Interpretations”: http://www.lyricinterpretations.com/

2) “Song Meanings”: http://www.songmeanings.net/

SUGGESTED ARTISTS AND POSSIBLE SONGS TO EXPLORE:

NOTE: Go the website, http://www.lyricinterpretations.com/ , and in the “song meaning search” box type in the decade you are wanting (1960s; 1970s, etc.) Then scroll down to the list of results. The first result should say the year and “Song Meanings.” Click on that result to get a huge list of artists from that decade. (For this course, please avoid country singers. Stick to rock or pop rock artists.)

OR

Listed below are ideas to choose from for letter c) of each assignment #2-#7. The “lyric interpretations” website is listed, but you may also wish to use the “song meanings” website as listed above.

1960s: http://www.lyricinterpretations.com/categories/1960s

Eric Clapton, The Beatles, Cat Stevens, Creedence Clearwater Revival, The Grateful Dead,

Guess Who, Janis Joplin


Led Zepplin, Harry Chapin, Rolling Stones, David Bowie


Journey, Aerosmith, Alice Cooper, Bruce Springsteen, Bryan Adams, Cyndi Lauper, Fleetwood

Mac

1990s : http://www.lyricinterpretations.com/categories/1990s

Annie Lennox, Creed, Dave Matthews Band


Foo Fighters, Green Day, Pink, Red Hot Chili Peppers


Chris Daughtry, Katy Perry, Rihanna


ASSIGNMENT #5: WRITING HAIKU

Haiku is one of the most important forms of traditional Japanese poetry. The poet tries to describe a natural object or scene in exactly seventeen syllables. Haiku is, today, a 17-syllable verse form consisting of three metrical units of 5, 7, and 5 syllables. The best Haiku use simple words that not only describe, but get the reader thinking or feeling.

Example #1:

5 syllables: the green tree stands still

7 syllables: the cool breeze blows off the lake

5 syllables: joining in a dance

Example #2: (song “Old Friends” by Paul Simon)

Song lyrics:

Old friends, old friends sat on their park bench like bookends

A newspaper blowin' through the grass

Falls on the round toes of the high shoes of the old friends

Old friends, winter companions, the old men

Lost in their overcoats, waiting for the sun

The sounds of the city sifting through trees

Settles like dust on the shoulders of the old friends

Can you imagine us years from today, sharing a park bench quietly

How terribly strange to be seventy

Old friends, memory brushes the same years, silently sharing the same fears

Haiku: “Old Friends” old friends, winter friends silently share a park bench remembering times


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