AC209 Final Exam 1. Contrast and compare Hard Rock and Heavy Metal. W at are t e stylistic di!!

erences and similarities "et#een t ese t#o $enres% W ere did eac style emer$e !rom and # o #ere some o! t eir primary exponents% a. Hard Rock is a modi!ication o! classic rock and roll& essentially '(st addin$ eavier $(itar ri!!s& lo(der vocals& and "om"astic dr(ms. ) ey mes ed t e rock and roll #it more "l(es*rock styles. ) ey $enerally ad complex son$ !orms and armony& a #ide variety o! vocal styles& diverse instr(mentation& and t e son$ topics #ere very diverse& crossin$ a #ide demo$rap ic o! artists. i. ) e W o& Rollin$ +tones& ,immy Hendrix& Aerosmit & AC-.C ". Heavy Metal as a m(c more p(re reliance on "l(es roots& and less similarity to classic rock and roll& "(t t is "l(es*style is a similarity. W ile Hard Rock ad ints o! ,a// and ot er in!l(ences& Heavy metal #as m(c more strai$ t*!or#ard& and less variant. 0t ad limited armonic c oices& t e lead sin$er #as al#ays a$$ressive and i$ *pitc ed& only (sed t e standard po#er*ensem"le& and topics #ere almost al#ays a"o(t deat & dark& and t e occ(lt. 1retty m(c all "ands and !ans #ere yo(n$ # ite men. i. Main exponents are 2ed 3epplin& 4lack +a""at & and later 5an Halen and 6(ns 7n Roses. 2. .isc(ss t e vario(s !orms o! co(ntry m(sic #e covered8 co(ntry "l(es 9ala ,immy Rod$ers:& ill"illy and traditional co(ntry 9ala t e Carter Family:& "l(e$rass& onky tonk& t e ;as ville R inestone Co#"oy so(nd& and o(tsider co(ntry. Compare and contrast t eir styles& roots& and artists. a. ,immy Rod$ers& and is co(ntry "l(es #as pretty m(c a !olk& $(itar* driven !orm o! t e "l(es. 0t #as all a"o(t t e s aped note& and also incl(ded !alsetto sin$in$ ". )raditional co(ntry #as a "it less !olk*like& #it more re$(lar str(m patterns and simple*strai$ t !or#ard aco(stics. ) ink t e ori$ins o! +imon and 6ar!(nkel. c. 4l(e$rass and ill"illy primarily re!ers to t e Appalac ian o!!*s oot o! traditional co(ntry. 0t ad t e c aracteristics o! traditional co(ntry& "(t a "it more 'i$*like. 0t<s a "it more !oot*stompin$& !iddle playin$& and a "it more o! # at yo( t ink o! # en yo( see a "(nc o! $(ys in ill"illy o(t!its '(st 'ammin$ and stompin$ to a !ast*paced t(ne. d. Honkey tonk is a very t#o*step r yt m dependent o!!s oot o! ra$time m(sic. 0t as almost a slo#*s#in$ like c aracteristic to it& and # ile also incorporatin$ t e steel $(itar and !iddle extensively& t ey are played in a very di!!erent #ay. ) e one*t#o "eat "ein$ t e primary c an$e o! !eel and style. e. ;as ville R inestone Co#"oy so(nd is a more o! a y"rid o! t e traditional co(ntry #it pop and rock m(sic o! t e time. 1retty m(c completely removin$ t e aco(stic and !olk*elements !rom t e $enre& it as

c aracteristics similar to $ospel. !. =(tsider Co(ntry is pretty m(c a response to t e r inestone ima$e. ) ey $enerally ad a more rock style& and #ere all a"o(t "ein$ "aaad. 2ike t e ippies o! co(ntry m(sic. 2ess polis ed& "(t (s(ally more m(sically complex. >. W at made Moto#n s(c a distinctive so(nd% .isc(ss # at 4erry 6ordy<s vision o! t is m(sic #as& o# e #ent a"o(t p(ttin$ it to$et er& and o# e s aped t e artists t at emer$ed. .isc(ss a !e# o! t ese artists #it re$ard to t eir speci!ic styles. a. 0t #as essentially a so(nd t at #as pop*so(l. )akin$ all t e smoot & po#er!(l nat(re o! so(l m(sic& and addin$ a steady& ?-? meas(re and a small "it o! s#in$. 0t is like a do*#ap style #it a "it more (mp and po#er. ". 4erry 6ordy #as t e !o(nder and leader o! Moto#n record $ro(p& and #anted to create an environment # ere an (nkno#n kid co(ld #alk o!! t e streets and come o(t a polis ed per!ormer. He "o($ t a o(se& nicknamed it ittsville @+A& and $ot as many $ood son$#riters and sin$ers in t e area to an$ o(t t ere. He led a very competitive la"el& and set it (p so t at all is $ro(ps ad t e top trainin$& and #ere constantly tryin$ to o(t*do eac ot er. c. )op $ro(ps #ere t e temptations& t e s(premes& and smokey ro"inson and t e miracles. ?. Analy/e t e rise o! .isco. W at #ere some o! t e !actors contri"(tin$ to its emer$ence. W at #ere t e key elements o! its style& and o# did it "ot !it into and s ape t e c(lt(ral context o! t e times. a. 0t act(ally ad its "e$innin$s in $ay ni$ tcl("s in ;AC& # ere t ey co(ld not a!!ord live per!ormers. 0nstead t e ired .,s& # o in t(rn played m(sic #it t e primary $oal o! playin$ $ood dancin$ m(sic. Wit t e ne# tec nolo$ies o! synt esi/ers and dr(m mac ines& alon$ #it Holly#ood promotion& it #as driven o(t as an overt alternative to rock. A di!!erent li!estyle alternative to identi!y #it . 0t ad a lot o! sex(al and promisc(o(s elements& #it !emale sin$ers no lon$er "e$$in$ !or sex& "(t demandin$ it. Wit t e sex and dr($s associated #it t e B0s& alon$ #it its replay* a"ility #it o(t a live "and& it elped s ape an entire c(lt(re. C. M(sic c an$ed dramatically in t e late B0s and early Dos "eca(se o! tec nolo$ical !actors 9and t ere #ere a n(m"er o! tec nolo$ical innovations t at emer$ed d(rin$ t is time:. 0denti!y some o! t ose #ays in # ic tec nolo$y c an$ed m(sic 9"ot it its prod(ction and t e #ays #e listen to it: and disc(ss t eir impact on c(lt(re and m(sic. a. ) e early D0s #as essentially t e rise o! t e comp(ter& and comp(ter* created and-or edited& or at t e very least stored m(sic. Wit t e introd(ction o! t e Walkman& m(sic #as no# a"le to "e any# ere and every# ere. Ao( no lon$er ad to "e stationary to "e listenin$ to m(sic&

# ic ad a ($e impact on t e context !or listeners. +(ddenly& di$ital recordin$ "ecomes t e norm& # ic t en paved t e #ay !or di$ital distri"(tion on C.s& as #ell as direct and c eaper di$ital instr(ments& s(c as dr(m mac ines and synt esi/ers. Ao( no lon$er ad to (se analo$ synt esi/ers& # ic not only created ne# so(nds& "(t lo#ered prod(ction costs. +yt *pop #as a direct res(lt o! t is& as syt esi/ers and dr(ms !(t(ristic so(nds created ne# and (niE(e so(nd si$nit(res. M)5 #as also )HE place !or pop(lar m(sic distri"(tion& and paved t e #ay !or t e pop(lari/ation o! m(sic videos& and artists as cele"rities and ima$e* makers& a"ove and "eyond concerts. F. 1(nk #as a (niE(e c(lt(ral creation in t at t e GsceneH co(ld not ave existed #it o(t t e m(sic. .isc(ss t e emer$ence o! 1(nk& it<s Ann Ar"or connections& t e impact o! C464s 9and # at C464s #as:& # at it #as tryin$ to accomplis & and some o! t e artists # o exempli!ied American p(nk. a. 1(nk m(sic #as essentially a retaliation to "i$ corporate America marketin$. 0t #as more*or*less "orn o(t o! Andy War ol<s movement #it ) e 5elvet @nder$ro(nd& act(ally per!ormin$ !irst at t e @M Film Festival. 0t #as essentially an (nder$ro(nd response to "i$*"(siness rock and o# it ad "ecome so cele"rity and $lorio(s. 1(nk #as all a"o(t re"ellin$ a$ainst t is common !lo#& and doin$ # atever #as not kos er. C464s #as essentially t e (" o! 1(nk m(sic in ;AC& # ere t ey "asically let everyone # o co(ldn<t $et a $i$ any# ere else play. 0t E(ickly "ecame ome "ot c(lt(rally and per!ormance #ise to p(nk*rock in America. A (niE(e E(ality o! p(nk #as t at it #as not male*dominated& and t at !emale artists #ere #elcomed& as t ey& o! co(rse& #ere exempli!ied anti*typical rock $ro(p. 1atti +mit #as a very pop(lar artist # o exempli!ied American 1(nk. B. ) e +an Francisco so(nd emer$ed o(t o! a partic(lar place& context& and intention. .isc(ss eac o! t ese !actors& cite important $ro(ps t at mi$ t exempli!y yo(r points& and t e overall impact9s: it ad on America and rock and roll. a. ) e +an Francisco so(nd #as a co(nterc(lt(re movement !rom t e Hai$ t As "(ry area& eavily !oc(sed on psyc edelic and experimental so(nds and tec niE(es. ) e 6rate!(l .ead& t e most !amo(s& pop(lari/ed extreme improvisation d(rin$ live per!ormances& and more eavy and prominent role !or t e electric "ase "ot #ere very psyc edelic in nat(re. 4i$ 4rot er and ) e Holdin$ Company also #as doin$ extremely experimental m(sic& and ad a "i$ !ollo#in$. ) ey #ere primarily 'a//*styled m(sic. =! co(rse& Clapton and Hendrix "asically re*invented # at playin$ electric $(itar meant& and co(ld do. ) eir experimental nat(re p(s ed t e instr(ment to its limits. All o! t ese "ands ad a massive impact on rock and roll& as it elped s o# t e limits o! t e modern m(sic at t e time& # ic nat(rally in!l(enced more clean*c(t mainstream m(sic. D. ) e 19B0s started o(t #it t e emer$ence o! t e sin$er*son$#riter. W o #ere

some o! t ese people& descri"e t eir vario(s styles& and disc(ss # y and o# t eir m(sic replaced # at ad come "e!ore it. Was t ere a partic(lar o(tlook on li!e t at !acilitated t eir pop(larity& and i! so # at #as it% a. 4asically rock and roll split into a "(nc o! s("*$enres& #it one o! t e more s("d(ed "ein$ t e sin$er*son$#riter. ) ey essentially took t e so(nd o! rock& and so!tened it (p a "it. Addin$ more smoot & connected melodies& and (sin$ more traditional instr(ments s(c as aco(stic $(itar and piano& "(t kept m(c o! t e attit(de and style o! Rock. ". ,ames )aylor #as a very soot in$& almost et ereal per!ormer. He ad very simple arran$ements& "(t intricate melodies t at mana$ed to talk a"o(t ard times in a calmin$ #ay. c. 4illy ,oel and Elton ,o n on t e ot er and& "asically "ro($ t pop*rock to t e piano. ) at said& t ey too #ere slo#er*more soot in$ style son$s. All o! t e sin$er*son$#riters ad emotional and introspective messa$es and son$ styles. ) ey served a similar service as t e rock*"allads come "e!ore& "(t in a less intense manner. d. 0t replaced normal rock& as it #as all a"o(t t e per!ormer& and not a"o(t t e a(dience. +in$er*son$#riter is all a"o(t introspection. ) eir m(sic #as more relaxed& and a"o(t Gtakin$ it easyH and not #orryin$. ;ot in t e ippy*everyt in$ is #onder!(l 2+. #ay& "(t in t e Geveryt in$ is $oin$ to "e alri$ tH sort o! #ay.