1. Effective BEGINNING of what term and year?: Fall 2012
See effective dates calendar .
2. College: College of Arts and
Letters 3. Academic Unit: School of Music
4. Course subject and number: MUS 294 5. Units: 3
6. Long course title: History of Rock Music
(max 100 characters including spaces)
7. Short course title: History of Rock Music
(max. 30 characters including spaces)
8. Catalog course description (max. 60 words, excluding requisites) :
The development of Rock music from the American Delta Blues and early Country music of the late-
1900s through the expansion of Rock styles in the 1970s, 1980s, and 1990s.
9. Grading option: Letter grade Pass/Fail Both
10. Co-convened with:
(For example: ESE 450 and ESE 550)
10a. UGC approval date
*
:
*
Must be approved by UGC before UCC submission, and both course syllabi must be presented
11. Cross-listed with:
(For example: ES 450 and DIS 450)
Please submit a single cross-listed syllabus that will be used for all cross-listed courses.
12. May course be repeated for additional units? No
12a. If yes, maximum units allowed?
12b. If yes, may course be repeated for additional units in the same term? Yes No
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13. Prerequisites: None
14. Co requisites: None
15. Is this course in any plan (major, minor or certificate) or sub plan (emphasis or concentration)?
Yes No
If yes, describe the impact and attach written responses from the affected academic units prior to college curricular submission.
16. Is there a related plan or sub plan proposal being submitted? Yes No
If no, explain.
The creation of this course will not impact any plans or sub-plans.
17. Does this course include combined lecture and lab components? Yes No
If yes, note the units specific to each component in the course description above.
18. Does this course duplicate content of existing courses? Yes No
If yes, list the courses with duplicate material. If the duplication is greater than 20%, explain why NAU should establish this course.
19. Names of the current faculty qualified to teach this course: Dr. Alexander Lapins, Dr
Todd Sullivan
20. Justification for new course.
This course will expand the School of Music offerings for non-music majors and will fulfill the
Aesthetic and Humanistic Inquiry distribution block in the Liberal Studies program. Courses of this type have proven very popular on other university campus, and the department anticipates that demand will be great for The History of Rock and should certainly attract many NAU students.
Answer 21-22 for UCC/YCC only:
21. Is this course being proposed for Liberal Studies designation? Yes No
If yes, forward this form along with the appropriate supporting documentation to the
Liberal Studies Committee .
22. Is this course being proposed for Diversity designation?
Yes No
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If yes, forward this form along with the appropriate supporting documentation to the
Diversity Committee
Scott Galland 02/22/2012
Reviewed by Curriculum Process Associate Date
Approvals:
December 1, 2011
Department Chair/ Unit Head (if appropriate) Date
Chair of college curriculum committee Date
Dean of college Date
For Committee use only:
:
:
UCG/UGC/YCC Approval Date
Approved as submitted: Yes No Approved as modified: Yes No
Approved as submitted:
Approved as modified
:
Revised 06/22/2011 3

• College of Arts and Letters, School of Music
• MUS 294 History of Rock Music
• 3 credit hours
• Dr. Alexander Lapins, instructor/Dr. Todd E. Sullivan, instructor
• Performing/Fine Arts Building, Room 140/Room 120B
• Office hours by appointment
COURSE PREREQUISITES
None.
COURSE DESCRIPTION
Studying the development of Rock Music, starting with American Delta Blues and early Country music of the late 1900’s, continuing through Dixieland, Classic Blues, Urban Blues, Rhythm &
Blues, Soul, the Golden Age of Rock ‘n’ Roll in the 1950’s, the British Invasion of the 1960’s, the hugely expanding vocabulary of Rock in the 1960’s, and several strains of music coming out of that expansion in the 1970’s, 1980’s, and 1990’s. Listening skills will also be developed, in terms of hearing musical texture, instrumentation, form, as well as lyrical analysis. Elements of musical style, historical context, and modes of expression will be emphasized and discussed at all times.
LIBERAL STUDIES
1. Mission of Liberal Studies: The mission of the Liberal Studies Program at Northern Arizona
University is to prepare students to live responsible, productive, and creative lives as citizens of a dramatically changing world. To accomplish the mission of Liberal Studies, Northern Arizona
University provides a program that challenges students to gain a deeper understanding of the natural environment and the world’s peoples, to explore the traditions and legacies that have created the dynamics and tensions that shape the world, to examine their potential contributions to society, and thus to better determine their own places in that world. Through the program students acquire a broad range of knowledge and develop essential skills for professional success and life beyond graduation.
2. Distribution Block: Aesthetic and Humanistic Inquiry.
History of Rock Music is a Liberal Studies course in the Aesthetic and Humanistic Inquiry distribution block. Courses in this block involve students in the study of the human condition through philosophical inquiry and analysis of the various forms of creative expression. This study of the History of Rock Music will help students to understand the relationship between context and human creative expression, influences of historical events on specific artists and musical genres, conceptual frameworks utilized to make sense of the creative arts, and how human experience and values are expressed through creative endeavors. Finally, after exploring how history influenced and developed Rock Music, the course will explore how Rock Music influenced and continues to influence history.
3. Essential Skill: Critical Thinking
This course challenges and expands students’ critical thinking in two primary areas: 1) understanding of historical influence on the logistical and creative environment of selected
Revised 06/22/2011 4

artists, as well as 2) the musical and lyrical development of and relationships between the roots and several sub-genres of Rock Music.
The history of Rock Music is, up until the 1960’s, the history of American race relations, expression by people outside the upper classes, the after-effects of slavery, the industrial revolution, the two World Wars, the Great Depression, and the development of the cultural reality of vast popularity of commercial music. From the 1960’s onward it is the study of this style of music becoming the dominant cultural force in the world, and that force finding a seeming infinite plurality of expressive styles and points of view.
Further, students will develop the knowledge and intellectual tools for analyzing various musical and lyrical aspects of a wide variety of popular music of the 20th and 21st centuries, with the ultimate goal of increasing their aptitude for critical thinking.
STUDENT LEARNING EXPECTATIONS/OUTCOMES FOR THIS COURSE
1. Students will identify, differentiate and compare sub-genres of Rock Music and its predecessors, along with the most prominent and/or influential artists and their music.
2. Students will be able to identify, discuss and associate historical and sociological influences on, and effects of, the development of Rock Music.
3. Students will identify, compare and analyze lyric content, compositional structure, and performance styles of rock music and its predecessors, tracing methods of expression in music of the 21st century to its roots in the past.
ASSESSMENT OF STUDENT LEARNING OUTCOMES
1. Class Engagement (10%). Discussion among students in class, as individuals and in groups assigned to focus on certain aspects of music being examined in order to increase students’ understanding of musical style, lyric content, and historical context.
2. Tests (70%). Four online tests and several online quizzes will be given via Blackboard Learn.
These tests are taken outside of the class meeting times. Test may include: multiple choice, matching, ordering, true/false, short answer, long answer, and essay questions (see Essay
Assessment Rubric). Tests include listening identification, analysis of instrumentation, basic form identification, identification of musical influences, and analysis of lyric content and historical context. Each test focuses primarily on material covered since the previous test, but references to older material are included on the three final tests
• Test One (15%). Available September 15, 12:00 pm until September 17, 12:00 pm.
• Test Two (15%). Available October 13, 12:00 pm until October 15, 12:00 pm.
• Test Three (15%). Available November 21, 12:00 pm until November 23, 12:00 pm.
• Test Four—Final Exam (25%). Available December 12, 12:00 pm until December 14,
12:00 pm.
3. Quizzes (20%). Periodic quizzes on the content of readings and listening examples, using a variety of formats, including multiple choice, true/false, sort answer, and listening identification.
GRADING SYSTEM
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A (90-100%) — excellent
B (80-89%) — above average
C (70-79%) — average
D (60-69%) — below average
F (0-59%) — fail
I — incomplete
W — withdraw
COURSE STRUCTURE/APPROACH
Specific print, recorded and video materials will be assigned and act as the basis of content in the class. Classes will summarize important historical concepts, illustrate musical concepts and involve discussions used to think critically about our topics. Student participation in classroom discussion of musical content and historical contexts is essential.
TEXTBOOK AND REQUIRED MATERIALS
DeCurtis, Anthony, James Henke, and Holly George-Warren, eds. The Rolling Stone Illustrated
History of Rock & Roll . New York: Random House, 1992.
Gass, Glenn. A History of Rock Music: The Rock & Roll Era . Preliminary edition. New York:
McGraw-Hill. 1994.
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ESSAY ASSESSMENT RUBRIC
CONTENT (80% of essay grade)
EXCELLENT
All information relevant to topic.
Good and sufficient support of topic; Multiple supporting historical/musical examples.
Ample display of synthesis of topics covered in class, readings and listening.
Writer involved with subject, not merely doing an assignment.
Essay in-depth and looking beyond the obvious.
Clear and appropriate organization, with effective introduction, transitions, and conclusion.
ABOVE AVERAGE
Sufficient support for topic, but with erroneous/extraneous information.
Several but not numerous musical/historical examples.
Some display of synthesis of topics covered in class, readings and listening.
Essay goes beyond rewording assigned readings; writer displays understanding of the overall scope of the course.
Organization slightly lacking clarity.
AVERAGE
Support for topic barely suffient.
Basic display of synthesis of topics, but brief and not the primary content of the essay.
Unevaluated regurgitation of readings and lectures.
Organization lacking clarity.
BELOW AVERAGE
Insufficient support for topic.
Lack of synthesis of historical and musical topics.
Insufficient understanding of readings, lectures and listening.
Poor organization.
FAIL
Little to no support for topic.
Little to no synthesis of historical and musical topics.
Little to no familiarity of basic reading and lecture content.
Little to no organization.
GRAMMAR AND MECHANICS (20% of essay grade)
EXCELLENT
Consistent and appropriate voice.
Sophisticated and precise word choice
No more than three spelling errors.
No more than three punctuation or capitalization errors.
Met all min/max paragraph requirements.
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ABOVE AVERAGE
Voice mostly consistent and appropriate.
Fairly effective word choice.
No more than five spelling errors.
No more than five punctuation or capitalization errors.
Met most min/max paragraph requirements.
AVERAGE
Voice somewhat consistent and appropriate.
Correct word choice.
No more than seven spelling errors.
No more than seven punctuation or capitalization errors.
Failed to meet min/max paragraph requirements.
BELOW AVERAGE
Voice somewhat consistent and appropriate.
Some correct word choice.
More than seven spelling errors.
More than seven punctuation or capitalization errors.
Failed to meet min/max paragraph requirements.
FAIL
Inconsistent and inappropriate voice.
Poor word choices.
More than nine spelling errors.
More than nine punctuation or capitalization errors.
Failed to meet min/max paragraph requirements.
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COURSE OUTLINE
Week 1: August 30, September 1
ROCK ROOTS: Overview of pre-rock styles & influences. The Blues: roots in work songs & field hollers. Bessie Smith & “classic blues.” Robert Johnson & the guitar-based rural blues of the Mississippi delta.
ROCK ROOTS: Blues: style traits & the 12-bar blues. The epic Northern migration and move to electric urban blues; Chicago & Chess Records, Muddy Waters, Howlin’ Wolf; blues in the rock era. Gospel music styles, singers, groups and influences.
READING: Gass, History of Rock Music: The Rock & Roll Era , ch. 1
Rolling Stone Illustrated History of Rock & Roll , R.S. “Rock Begins”
LISTENING:
BESSIE SMITH
BLIND LEMON JEFFERSON
KOKOMO ARNOLD
St. Louis Blues (1925)
Matchbox Blues (1927)
Milkcow Blues (1935)
ROBERT JOHNSON
JOHN LEE HOOKER
ARTHUR “BIG BOY” CRUDUP
T-BONE WALKER
Crossroads Blues (1936)
Preaching Blues (1936)
Love in Vain (1937)
That’s All Right (1946)
Boogie Chillen (1948)
Call It Stormy Monday (1947)
B. B. KING
HOWLIN’ WOLF
Three O’Clock Blues (1951)
Smokestack Lightnin’ (1956)
Little Red Rooster (1961)
Built For Comfort
MUDDY WATERS
Week 2: September 6, 8
I Just Want To Make Love To You (1953)
I’m Ready (1954)
Mannish Boy
ROCK ROOTS: Country & Western styles: Appalachia and the Southwest. Carter Family traditions; Jimmie Rodgers and the incorporation of blues and pop styles. Roy Acuff, Hank
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Williams and the Grand Ole Opry. Western Swing, singing cowboys, bluegrass, honky-tonk, the
Nashville Sound.
RHYTHM & BLUES: Jazz, boogie-woogie and the Swing Era; decline of the Big Bands and the splintering into sophisticated bebop and dance-oriented rhythm & blues. R&B in the 1940’s:
Louis Jordan & “jump blues,” Nat “King” Cole & “club blues,” the Ink Spots, Ravens and
Orioles. The Dawn of Rock & Roll: 1950’s R&B solo singers and vocal groups.
VIDEO ASSIGNMENT: “American Roots Music Episode 3” Thursday September 8
READING: R.S. “Rock Begins” Gass ch. 1, R.S. “Rhythm & Gospel” Gass ch. 2
LISTENING:
THE CARTER FAMILY Keep on the Sunny Side
Worried Man Blues
JIMMIE RODGERS Blue Yodel #1 (1927)
BOB WILLS & HIS TEXAS PLAYBOYS Take Me Back to Tulsa (1941)
Brain Cloudy Blues (1946)
The Precious Jewel (1940) ROY ACUFF
BILL MONROE Blue Moon of Kentucky (1946)
ERNEST TUBB
HANK WILLIAMS
CLARENCE “PINETOP” SMITH
Walking the Floor over You (1941)
I’m So Lonesome I Could Cry (1949)
Your Cheatin’ Heart (1952)
Move It On Over
Pinetop’s Boogie Woogie (1928)
JOE TURNER AND PETE JOHNSON
LOUIS JORDAN
ROY MILTON
NAT “KING” COLE
WYNONIE HARRIS
RUTH BROWN
WILLIE MAE THORNTON
Roll ’em, Pete (1938)
Caldonia (1945)
Choo Choo Ch’Boogie (1946)
Milton’s Boogie (1945)
Route 66 (1946)
Good Rockin’ Tonight (1947)
Mama, He Treats Your Daughter Mean (1953)
Hound Dog (1953)
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JACKIE BRENSTON w/IKE TURNER
JUNIOR PARKER
Rocket 88 (1951)
Mystery Train (1953)
Week 3: September 13
CROSSOVERS & COVERS: popular music in the 1950’s and R&B “crossovers.” The industry response: whitewashed R&B “covers.” The emergence of the Teenager. Alan Freed and the airwaves as battleground. Bill Haley and “Rock Around the Clock.”
READING: R.S. “The Rise of Top 40 A.M.” Gass ch. 2
LISTENING:
THE INK SPOTS
THE RAVENS
If I Didn’t Care (1939)
Gotta Find My Baby (1950)
THE ORIOLES
It’s Too Soon to Know (1948)
Crying in the Chapel (1953)
BILLY WARD & THE DOMINOES Sixty Minute Man (1951)
Have Mercy Baby (1952)
HANK BALLARD & The MIDNIGHTERS Work with Me Annie (1954)
ETTA JAMES
GEORGIA GIBBS
FATS DOMINO
The Wallflower (Roll with Me Henry) (1955)
Dance with Me Henry (1955)
Ain’t That a Shame (1955)
PAT BOONE
JOE TURNER
BILL HALEY & HIS COMETS
TEST #1: SEPTEMBER 15-17
Week 4: September 20, 22
Ain’t That a Shame (1955)
Shake, Rattle and Roll (1954)
Shake, Rattle and Roll (1954)
Rock around the Clock (1954/1955)
ELVIS PRESLEY: The Sun Records Years (1954-55): Elvis & the South, Sam Phillips & Sun
Records. Scotty Moore and Bill Black. “Rockabilly” style traits. The move to RCA: the glory years & transformation into rock’s first great Hero and uniting force. The Army & Hollywood,
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the 1968 comeback, Las Vegas and the final descent.
ROCKABILLY: Saturday night in the wild-eyed South. Rockabilly guitar and vocal styles
Southern roots and borrowings from black music and culture. Sun Records after Elvis: Carl
Perkins, Johnny Cash, Roy Orbison, Charlie Rich, Jerry Lee Lewis Other rockabilly and
“extensions” of the style: Gene Vincent, Johnny Burnette Trio, Duane Eddy.
READING: R.S. Ch. “Elvis Presley,” “Rockabilly,” “Jerry Lee Lewis,” “The Instrumental
Groups” Gass ch. 3 & 4
LISTENING:
ELVIS PRESLEY (Sun Records)
ELVIS PRESLEY (1950’s RCA)
That’s All Right (1954)
Blue Moon of Kentucky (1954)
Milkcow Blues Boogie (1955)
Baby Let’s Play House (1955)
Heartbreak Hotel (1956)
Hound Dog (1956)
Don’t Be Cruel (1956)
Love Me Tender (1956)
Jailhouse Rock (1957)
All Shook Up (1957)
ELVIS PRESLEY (1960’s RCA) It’s Now or Never (1960)
Are You Lonesome Tonight? (1960)
Can’t Help Falling in Love (1961)
Viva Las Vegas (1964)
CARL PERKINS
Suspicious Minds (1969)
In the Ghetto (1969)
Blue Suede Shoes (1956)
Honey Don’t (1956)
JERRY LEE LEWIS
JOHNNY CASH
Whole Lotta Shakin’ Goin’ On (1957)
Great Balls of Fire (1957)
Folsom Prison Blues (1955)
I Walk the Line (1956)
ROY ORBISON Ooby Dooby (1956)
Week 5: September 27, 29
NEW ORLEANS: the Cradle of Jazz and its long history of cultural/musical intermingling.
Professor Longhair and the piano patriarchs. New Orleans R&B singers and styles. Cosimo
Matassa’s recording studio and Dave Bartholomew’s house band. New Orleans’ twin rock
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pillars: Fats Domino and Little Richard.
CHICAGO & CHESS RECORDS: Early crossovers and Chess Records in the rock & roll era.
Chuck Berry: the Eternal Teenager, first great Rock Poet and archetypal rock guitarist. Berry’s boogie-based rhythm & lead guitar styles, songwriting themes & rapid-fire words. Bo Diddley: the “Bo Diddley Beat” and Bo’s visionary guitar—rock as pure Rhythm & Sound.
READINGS: R.S. “The Sound of New Orleans,” “Fats Domino,” “Little Richard,” “Chuck
Berry” Gass ch. 5, 6
LISTENING:
Tipitina (1953) PROFESSOR LONGHAIR
LLOYD PRICE
SMILEY LEWIS
SHIRLEY & LEE
Lawdy Miss Clawdy (1952)
I Hear You Knocking (1955)
Let the Good Times Roll (1956)
FATS DOMINO
LITTLE RICHARD
LARRY WILLIAMS
FRANKIE FORD
CLARENCE “FROGMAN” HENRY
THE MOON GLOWS
THE FLAMINGOS
BO DIDDLEY
CHUCK BERRY
The Fat Man (1950)
Ain’t That a Shame (1955)
Blueberry Hill (1956)
Tutti Frutti (1955)
Long Tall Sally (1956)
Lucille (1956)
Keep a-Knockin’ (1957)
Good Golly Miss Molly (1957)
Dizzy Miss Lizzy (1958)
Sea Cruise (1959)
Ain’t Got No Home (1956)
Sincerely (1954)
I’ll Be Home (1955)
Bo Diddley (1955)
I’m a Man (1955)
Who Do You Love? (1956)
Mona (1957)
Maybellene (1955)
Brown-Eyed Handsome Man (1956)
Memphis (1958)
Roll Over Beethoven (1956)
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Sweet Little Sixteen (1958)
School Day (1957)
Johnny B. Goode (1958)
Week 6: October 4, 6
SOUL PIONEERS: Ray Charles & the merging of gospel, R&B, pop and C&W; Atlantic to
ABC. Sam Cooke’s move from gospel to pop, Jackie Wilson’s vocal gymnastics & uneven recording career.
ROCK STYLES EXPAND: The Push Toward Pop and a renewed emphasis on melody. Paul
Anka, Bobby Darin and other proto-teen idols. Ricky Nelson: the “L.A. Rockabilly.” The Everly
Brothers’ country-duo harmonies, Eddie Cochran’s rock anthems and power chords.
READING: R.S. “Ray Charles,” Sam Cooke,” “Jackie Wilson,” “The Everly Brothers,” “Doo-
Wop” Gass ch. 8, 9
LISTENING:
RAY CHARLES I’ve Got a Woman (1954)
Drown in My Own Tears (1955)
Hallelujah, I Love Her So (1955)
What’d I Say (1959)
Georgia on My Mind (1960)
You Send Me (1957)
Wonderful World (1960)
Chain Gang (1960)
Bring It on Home to Me (1962)
Good Times (1964)
A Change Is Gonna Come (1964)
SAM COOKE
JACKIE WILSON
RICKY NELSON
THE EVERLY BROTHERS
EDDIE COCHRAN
Reet Petite (1957)
Lonely Teardrops (1958)
Doggin’ Around (1958)
Higher and Higher (1967)
Stood Up (1957)
Hello Mary Lou (1961)
Bye Bye Love (1957)
Wake Up Little Susie (1957)
Cathy’s Clown (1960)
Summertime Blues (1958)
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Week 7: October 11, 13
BUDDY HOLLY & the Crickets: last of the 1950’s giants. Studio innovations and a new fusion of pop and rock & roll. Feb. 3, 1959: The “Day the Music Died.”
READING: R.S. “Buddy Holly” Gass ch. 9
LISTENING:
BUDDY HOLLY
That’ll Be the Day (1957)
Not Fade Away (1957)
Words of Love (1957)
Rave On (1958)
Everyday (1957)
Maybe Baby (1958)
Peggy Sue (1957)
It’s So Easy
TEST #2 OCTOBER 13-15
Week 8: October 18, 20
EARLY SIXTIES POP: The taming of rock & roll: Payola Scandal, Dick Clark, American
Bandstand and the “Death” of Rock & Roll.” Brill Building Pop: Aldon Music’s great songwriting teams. The “Girl Groups”; Phil Spector & the Wall of Sound: “little symphonies for the kids.”
EARLY SIXTIES POP: Male singers & groups. Roy Orbison’s epic heartaches. Del Shannon,
Neil Sedaka, Dion, the Four Seasons, Dance crazes, the Twist, and the R&B revival.
Thursday: Rock & Roll in England overview; British Invasion: The First Wave (video)
READING: R.S. ch. “The Teen Idols,” “The Payola Scandal,” “Brill Building Pop,” “Phil
Spector,” “Roy Orbison”
Gass ch. 10, 11
LISTENING:
THE CHANTELS Maybe (1958)
THE SHIRELLES
THE MARVELETTES
THE ANGELS
THE SHANGRI-LAS
I Met Him on a Sunday (1958)
Will You Love Me Tomorrow (1960)
Please Mr. Postman (1961)
My Boyfriend’s Back (1963)
The Leader of the Pack (1964)
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LESLEY GORE
THE RONETTES
THE RIGHTEOUS BROTHERS
THE FOUR SEASONS
You Don’t Own Me (1963)
Be My Baby (1963)
Baby I Love you (1963)
You’ve Lost That Lovin’ Feeling (1964)
Walk Like a Man (1963)
ROY ORBISON
NEIL SEDAKA
HANK BALLARD
Only the Lonely (1960)
Oh, Pretty Woman (1964)
Breaking Up Is Hard to Do (1962)
CHUBBY CHECKER
THE ISLEY BROTHERS
The Twist (1958)
The Twist (1960/1962)
Twist and Shout (1962)
Week 9: October 25, 27
THE BRITISH INVASION: overview of the unexpected reincarnation of American rock & roll in the guise of self-contained British pop groups and R&B bands.
THE BEATLES: A new standard of excellence for rock and pop music. Early years, Beatlemania and a new fusion of rock & pop, big beat & melody, songwriting & performing.
THE BEATLES: The touring years through Sgt. Pepper to the breakup. The band’s astonishing creative growth and the constantly evolving songwriting styles of Lennon and McCartney. The
Beatles & George Martin and in the Studio: Rock becomes Art (?) The Beatles as a microcosm of the 1960’s.
READING: R.S. “The Beatles,” “The Solo Beatles”
LISTENING:
Please Please Me (1963)
She Loves You (1963)
A Hard Day’s Night (1964)
I Feel Fine (1964)
I’m a Loser (1964)
Help! (1965)
Yesterday (1965)
I’ve Just Seen a Face (1965)
Norwegian Wood (1965)
(single, John & Paul)
(single, John & Paul)
(A Hard Day’s Night, John)
(single, John)
(Beatles For Sale, John)
(Help!, John)
(Help!, Paul)
(Help!, Paul)
(Rubber Soul, John)
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I’m Looking through You (1965)
In My Life (1965)
Paperback Writer (1966)
Rain (1966)
Eleanor Rigby (1966)
She Said She Said (1966)
Penny Lane (1967)
Strawberry Fields Forever (1967)
Getting Better (1967)
A Day in the Life (1967)
All You Need Is Love (1967)
I Am the Walrus (1967)
Hey Jude (1968)
Revolution (1968)
Dear Prudence (1968)
While My Guitar Gently Weeps (1968)
Happiness Is a Warm Gun (1968)
Blackbird (1968)
Helter Skelter (1968)
Here Comes the Sun (1969)
Something (1969)
You Never Give Me Your Money (1969) (Abbey Road, Paul)
Across the Universe (1969)
Let It Be (1969)
I’ve Got a Feeling (1969)
(Rubber Soul, Paul)
(Rubber Soul, John)
(single, Paul)
(single, John)
(Revolver, Paul)
(Revolver, John)
(Single, Paul)
(Single, John)
(Sgt. Pepper, Paul)
(Sgt. Pepper, John & Paul)
(Magical Mystery Tour, John)
(Magical Mystery Tour, John)
(single, Paul)
(single, John)
(The Beatles, John)
(The Beatles, George)
(The Beatles, John)
(The Beatles, Paul)
(The Beatles, Paul)
(Abbey Road, George)
(Abbey Road, George)
(Let It Be, John)
(Let It Be, Paul)
(Let It Be, John & Paul)
Week 10: November 1, 3
THE ROLLING STONES: London’s blues “underground” and apprenticeship under Alexis
Korner. Early blues and soul covers and Jagger & Richards’ songwriting partnership. Jagger as
Pop Star and charismatic frontman, Keith Richards as Rock Hero and Human Riff.
THE BRITISH INVASION: The Kinks, The Who, and the London Mod scene. Power chords to rock operas: early garage band classics and the expanding world views of Pete Townshend &
Ray Davies. British pop-rock, blues and psychedelic bands. Eric Burdon & the Animals, Them,
Yardbirds, Bluesbreakers; Gerry & the Pacemakers, Dave Clark Five, Hollies, Herman’s
Hermits, Small Faces.
VIDEO: “Britain Invades, America Fights Back”
READING: R.S. “The Rolling Stones,” “The British Invasion,” “The Kinks,” “The Who,” “Eric
Clapton”
LISTENING:
THE ROLLING STONES
It’s All over Now (1964)
Time Is on My Side (1964)
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THE KINKS
THE WHO
THE ANIMALS
MANFRED MANN
THE YARDBIRDS
CREAM
DEREK AND THE DOMINOS
PROCOL HARUM
Satisfaction (1965)
19th Nervous Breakdown (1966)
Let’s Spend the Night Together (1967)
Ruby Tuesday (1967)
Jumpin’ Jack Flash (1968)
Honky Tonk Women (1969)
Brown Sugar (1971)
Tumbling Dice (1972)
You Really Got Me (1964)
All Day and All of the Night (1964)
A Well Respected Man (1965)
Lola (1970)
My Generation (1965)
I Can See for Miles (1965)
Pinball Wizard (1969)
Baba O’Riley (1971)
House of the Rising Sun (1964)
We Gotta Get Out of This Place (1965)
Do Wah Diddy Diddy (1964)
For Your Love (1965, w/Eric Clapton)
Shapes of Things (1966, w/Jeff Beck)
Crossroads (1968, w/Eric Clapton)
Layla (1970, w/Eric Clapton)
Whiter Shade Of Pale (1967)
Week 11: November 8, 10
THE BEACH BOYS: California as the Promised Land: Chuck Berry’s mythic vision of teenage life transplanted to the Beach. Brian Wilson’s artistic vision, influences and increasingly elaborate productions: Pet Sounds
, “Good Vibrations,” the aborted Smile project and Brian’s descent.
BOB DYLAN: “Great Art on a Jukebox.” The expansion of rock’s lyrical and poetic possibilities and rock’s emergence, via Dylan, as a vehicle for true personal expression. The classic electric era and Dylan’s transition from “conscience of a generation” to rock & roll Bohemian and reclusive icon.
FOLK-ROCK: New York/Greenwich Village to Los Angeles’ Sunset Strip: Dylan covers and
Dylan-influenced lyrics with a new range of expression with a new emphasis on realism and
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relevance. Ex-folkies turned rockers: The Byrds, Simon & Garfunkel, the Lovin’ Spoonful,
Mamas & Papas, the Turtles, Donovan, Barry McGuire, Scott McKenzie.
READING: R.S. “The Beach Boys,” “Bob Dylan,” “The Byrds,” “Folk Rock,” “Paul Simon”
LISTENING
THE BEACH BOYS I Get Around (1964)
California Girls (1965)
Barbara Ann (1965)
Wouldn’t It Be Nice (1966)
Caroline No (1966)
Good Vibrations (1966)
Heroes and Villains (1967)
Do It Again (1968)
BOB DYLAN
Blowin’ in the Wind (1963)
A Hard Rain’s a-Gonna Fall (1963)
The Times They Are a-Changing (1964)
Mr. Tambourine Man (1965)
Subterranean Homesick Blues (1965)
Like a Rolling Stone (1965)
THE BYRDS
SIMON AND GARFUNKEL
Highway 61 Revisited (1965)
Just like a Woman (1966)
All along the Watchtower (1968)
Tangled Up in Blue (1975)
Mr. Tambourine Man (1965, Dylan)
Turn! Turn! Turn! (1965, Pete Seeger)
THE MAMAS AND THE PAPAS
Week 12: November 15, 17
The Sounds of Silence (1965)
Homeward Bound (1965)
Scarborough Fair (1966)
A Hazy Shade of Winter (1966)
Bridge over Troubled Water (1969)
Cecilia (1969)
California Dreamin’ (1966)
LOS ANGELES: L. A. rock & pop. The Sunset Strip scene: The Byrds, Buffalo Springfield,
Doors... Buffalo Springfield and the “Supergroup” aesthetic, emphasizing individual expressions over band unity. Jim Morrison and Rock as Theater.
SAN FRANCISCO & PSYCHEDELIA: The Monterey Pop Festival, Haight-Ashbury, the 1967
“Summer of Love” and the emerging Counterculture. Rock concerts become Happenings and
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rock’s possibilities expand as the underground hits the mainstream in an unprecedented era of artistic freedom. The Grateful Dead, Jefferson Airplane, Janis Joplin, Quicksilver, Country Joe & the Fish, Steve Miller.
JIMI HENDRIX, CLAPTON & THE BLUES REVIVAL: The blues extended and the guitar redefined with a new virtuosity. Hendrix’ blues-based, sound-drenched psychedelic excursions and the dawn of rock’s Modern Era. The Yardbirds legacy: Eric Clapton, Jeff Beck, Jimmy Page
& Led Zeppelin.
EARLY HARD ROCK/METAL: Black Sabbath, Led Zeppelin
READING: R.S. ch. “The Doors,” “The Sound of San Francisco,” “The Grateful Dead,” “The
Jefferson Airplane,” “Janis Joplin,” “Jimi Hendrix,” “Eric Clapton,” “Led Zeppelin,” “Heavy
Metal”
LISTENING
BUFFALO SPRINGFIELD For What It’s Worth (1967)
THE DOORS
THE MONKEES
Break on Through (1967)
Roadhouse Blues (1970)
The Wasp (Texas Radio and the Big Beat)
(1971)
Pleasant Valley Sunday (1967)
Somebody to Love (1967)
White Rabbit (1967)
JEFFERSON AIRPLANE
THE GRATEFUL DEAD
JANIS JOPLIN
SANTANA
THE JIMI HENDRIX EXPERIENCE
Uncle John’s Band (1970)
Casey Jones (1970)
Truckin’ (1970)
Piece of My Heart (1968 with Big Brother and the Holding Company)
Me and Bobby McGee (1970 with Full
Tilt Boogie Band)
Black Magic Woman (1970, Fleetwood Mac)
Oye Como Va (1970, Tito Puente)
Red House (1967)
Purple Haze (1967)
Little Wing (1968)
Castles Made of Sand (1968)
All Along the Watchtower (1968)
Voodoo Child (Slight Return) (1968)
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CREAM
LED ZEPPELIN
BLACK SABBATH
TEST 3 NOVEMBER 21-22
Sunshine of Your Love (1967)
White Room (1968)
Good Times Bad Times (1969)
Babe, I’m Gonna Leave You (1969)
Whole Lotta Love (1969)
Black Dog (1971)
Stairway to Heaven (1971)
Going to California (1971)
The Rain Song (1973)
Paranoid (1970)
War Pigs (1970)
Iron Man (1970)
Week 13: November 29, December 1
JAMES BROWN & FUNK: the Godfather of Soul and roots of funk, disco, rap. King Records.
Isley Brothers. Sly & the Family Stone and psychedelic soul. George Clinton &
Parliament/Funkadelic.
ART ROCK/PROGRESSIVE ROCK/FREAK-OUT MUSIC
Frank Zappa, Pink Floyd, Yes, Rush, King Crimson
READING: R.S. “James Brown,” “Sly and the Family Stone,” “Funk,” “The Emergence of Art
Rock”
LISTENING
JAMES BROWN
THE ISLEY BROTHERS
SLY & THE FAMILY STONE
Papa’s Got a Brand New Bag (1965)
I Got You (I Feel Good) (1965)
I Got the Feelin’ (1968)
It’s Your Thing (1969)
Dance to the Music (1968)
Everyday People (1969)
Hot Fun in the Summertime (1969)
Thank You (1970)
GEORGE CLINTON-PARLIAMENT/FUNKADELIC
Mothership Connection (1975)
P-Funk (1975)
Atomic Dog (1982)
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FRANK ZAPPA
PINK FLOYD
YES
RUSH
Peaches En Regalia (1969)
I’m the Slime (1973)
Dancing Fool (1978)
Interstellar Overdrive (1967)
Bike (1967)
Time (1973)
Brain Damage (1973)
Shine On You Crazy Diamond (1975)
I’ve Seen All Good People (1971)
Roundabout (1971)
Long Distance Runaround (1971)
Fly by Night (1975)
Closer to the Heart (1977)
Freewill (1980)
KING CRIMSON
Week 14: December 6, 8
HIP HOP/REVIEW
21st Century Schizoid Man (1969)
Frame By Frame (1981)
READING: R.S. “Rap and Soul, From the Eighties Onward”
LISTENING
SUGARHILL GANG
GRANDMASTER FLASH
Rapper’s Delight (1979)
The Message (1982)
RUN DMC
WILL SMITH
It’s Tricky (1986)
Walk This Way (1986, Aerosmith)
Parents Just Don’t Understand (1989)
MC HAMMER
PUBLIC ENEMY
U Can’t Touch This (1990)
Fight the Power (1989)
NWA
DR. DRE & SNOOP DOG
Straight Outta Compton (1989)
Nuthin’ but a ‘G’ Thang (1993)
TEST 4—FINAL EXAM: DECEMBER 12-14
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COURSE POLICIES
• Makeup tests will only be given upon documentation of a medical or family emergency.
• You are responsible for regularly attending all courses for which you are enrolled. Should an absence from class be unavoidable, you are responsible for reporting the reason to your instructors. (Be aware that Fronske Health Center does not provide documentation of your health problems.) In addition, you are responsible for making up any work you miss. Your instructors are under no obligation to make special arrangements for you if you are absent.” Elsewhere, the
University allows for absences connected to Institutional Excuses, health concerns, religious observance, and, soon, bereavement.
• Plagiarism and/or cheating will be reported immediately to the administration of both the
College of Arts and Letters and to the Liberal Studies office.
UNIVERSITY POLICIES:
Safe Environment Policy
NAU’s Safe Working and Learning Environment Policy seeks to prohibit discrimination and promote the safety of all individuals within the university. The goal of this policy is to prevent the occurrence of discrimination on the basis of sex, race, color, age, national origin, religion, sexual orientation, disability, or veteran status and to prevent sexual harassment, sexual assault or retaliation by anyone at this university.
You may obtain a copy of this policy from the college dean’s office or from the NAU’s
Affirmative Action website http://home.nau.edu/diversity/. If you have concerns about this policy, it is important that you contact the departmental chair, dean’s office, the Office of
Student Life (928-523-5181), or NAU’s Office of Affirmative Action (928-523-3312).
Students with Disabilities
If you have a documented disability, you can arrange for accommodations by contacting
Disability Resources (DR) at 523-8773 (voice) or 523-6906 (TTY), dr@nau.edu (e-mail)or 928-
523-8747 (fax).Students needing academic accommodations are required to register with DR and provide required disability related documentation. Although you may request an accommodation at any time, in order for DR to best meet your individual needs, you are urged to register and submit necessary documentation (www.nau.edu/dr) 8 weeks prior to the time you wish to receive accommodations. DR is strongly committed to the needs of student with disabilities and the promotion of Universal Design. Concerns or questions related to the accessibility of programs and facilities at NAU may be brought to the attention of DR or the Office of Affirmative Action and Equal Opportunity (523-3312).
Institutional Review Board
Any study involving observation of or interaction with human subjects that originates at NAU— including a course project, report, or research paper—must be reviewed and approved by the
Institutional Review Board (IRB) for the protection of human subjects in research and researchrelated activities.
The IRB meets monthly. Proposals must be submitted for review at least fifteen working days before the monthly meeting. You should consult with your course instructor early in the course
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to ascertain if your project needs to be reviewed by the IRB and/or to secure information or appropriate forms and procedures for the IRB review. Your instructor and department chair or college dean must sign the application for approval by the IRB. The IRB categorizes projects into three levels depending on the nature of the project: exempt from further review, expedited review, or full board review. If the IRB certifies that a project is exempt from further review, you need not resubmit the project for continuing IRB review as long as there are no modifications in the exempted procedures.
A copy of the IRB Policy and Procedures Manual is available in each department’s administrative office and each college dean’s office or on their website: http://www.research.nau.edu/vpr/IRB/index.htm. If you have questions, contact the IRB
Coordinator in the Office of the Vice President for Research at 928-523-8288 or 523-4340.
Academic Integrity
The university takes an extremely serious view of violations of academic integrity. As members of the academic community, NAU’s administration, faculty, staff and students are dedicated to promoting an atmosphere of honesty and are committed to maintaining the academic integrity essential to the education process. Inherent in this commitment is the belief that academic dishonesty in all forms violates the basic principles of integrity and impedes learning. Students are therefore responsible for conducting themselves in an academically honest manner.
Individual students and faculty members are responsible for identifying instances of academic dishonesty. Faculty members then recommend penalties to the department chair or college dean in keeping with the severity of the violation. The complete policy on academic integrity is in
Appendix G of NAU’s Student Handbook http://www4.nau.edu/stulife/handbookdishonesty.htm.
Academic Contact Hour Policy
The Arizona Board of Regents Academic Contact Hour Policy (ABOR Handbook, 2-206,
Academic Credit) states: “an hour of work is the equivalent of 50 minutes of class time…at least
15 contact hours of recitation, lecture, discussion, testing or evaluation, seminar, or colloquium as well as a minimum of 30 hours of student homework is required for each unit of credit.”
The reasonable interpretation of this policy is that for every credit hour, a student should expect, on average, to do a minimum of two additional hours of work per week; e.g., preparation, homework, studying.
SENSITIVE COURSE MATERIALS
If an instructor believes it is appropriate, the syllabus should communicate to students that some course content may be considered sensitive by some students.
University education aims to expand student understanding and awareness. Thus, it necessarily involves engagement with a wide range of information, ideas, and creative representations. In the course of college studies, students can expect to encounter—and critically appraise—materials that may differ from and perhaps challenge familiar understandings, ideas, and beliefs. Students are encouraged to discuss these matters with faculty.
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OTHER
Syllabus Subject to Change
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