educator guide - amazon web...

EDUCATOR

GUIDE

Will Burton (Gaelan Connell) and Sa5m (Vanessa Hudgens) become

friends while working on a school project in BANDSLAM.

l o g o n t o w w w. wa l d e n . c o m f o r a d d i t i o n a l a c t i v i t i e s & i n f o r m at i o n

r e g i s t e r at w w w. wa l d e n . c o m/ b a n d s l a m t o w i n a $ 2 5 0 g i f t ca r d f o r yo u r c l as s r o o m .

BANDS AM s about a h gh schoo d, W Burton, who wears h s non

conform st heart on h s s eeve. t s about what t means (and what t ta es) for a

person to express hmse f oud and c ear through mus c. W roc s to the mus c

he hears, captur ng the hearts and mag nat ons of h s band, h s peers, and

even that of a famous roc star a ong the way.

The mus c of BANDS AM and the hstory of that mus c provde extraordnary

“teachab e moments.” To optmze these opportun t es, Wa den Med a has partnered

w th two organzat ons that brng mus c and earnng together w th great harmony

the GRAMMY Museum, new y opened n os Ange es and ded cated to exp orng

and ce ebratng the endurng egac es of a forms of mus c, and MENC The Nat ona

Assoc at on for Mus c Educat on, the foremost arts educat on organzat on and

one that rea zes the power of mus c as a teachng too . Drawng on the

r ch mus ca resources of these esteemed partners, we have created

th s nteract ve Educator Gude f ed w th hstory, sc ence, and mus ca

r ches.

Teenager W Burton (Gae an

Conne ) ves n h s head, and h s

head s f ed w th mus c. When h s

mom Karen Burton ( sa Kudrow) gets

a new ob n New Jersey, W starts at

a new schoo on y to fnd that wh e

the o d c ques and c ches st app y,

roc n ro ru es the scene. A perpetua

msf t, W str es up a fr endshp w th

e mnded outsder Sa5m “the 5 s

s ent” (Vanessa Hudgens). They re

both surpr sed when the schoo s “ t”

g r , Char otte (A y M cha a) recru ts

W to he p assemb e a band to

compete n “Bands am,” a batt e of

the bands of ep c proport ons. W th

Char otte s ex boyfr end Ben (Scott

Porter) and h s band po sed to w n t

a , W fnds that, for the frst t me n

h s fe, he s unque y su ted to ma e a

meanngfu contr but on to somethng

that s mportant to hm and h s peers.

W th mus c as the great equa zer,

BANDS AM s a mov e that proves

ove, fr endshp, and mus c can a

roc your wor d.

A Message from WALDEN MEDIA

About BANDSLAM

“If a man does not keep pace

with his companions, perhaps it

is because he hears a different

drummer. Let him step to the

music which he hears, however

measured or far away.”

– Henry David Thoreau, Walden

Read the Mov e

t e n boo s from

SBN 978-0843 34865SBN 978-0843 3484SBN 978-0843 34858

Bandslam: Will s Guide to Music

Bandslam: The Novel

Bandslam: The Movie Scrapbook

teacher reference page

The act v t es n th s Educator Gude are recommended for grades s x and up and meet nat ona standards n Mus c, Eng sh/ anguage Arts, Soc a Stud es, and Sc ence. A pages are gray sca eab e to be eas y reproduc b e.

Some of the mus c c ted n these essons may nc ude references, cons stent w th the eras portrayed, to substance abuse, v o ent acts, and top cs of a sexua and/or po t ca nature. Because th s may be cons dered nappropr ate for c assroom use n some commun t es, you are encouraged to rev ew essons before present ng them to your students and, f necessary, choos ng those sect ons that enhance your esson and are acceptab e for use n your c assroom.

MENC The Nat ona Assoc at on of Mus c Educat on be eves that mus c a ows us to ce ebrate and preserve our cu tura her tages and a so to exp ore the rea ms of express on, mag nat on, and creat on resu t ng n new know edge. Therefore, every nd v dua shoud be guaranteed the opportun ty to earn mus c and to share n mus ca exper ences. The m ss on of MENC s to advance mus c educat on by encourag ng the study and mak ng of mus c by a . Wa den Med a s gratefu to MENC for the r cooperat on, the use of ts su tab ty statement, and the r expert rev ew of the content of th s gude. To earn more about MENC, p ease see

www.menc.org

The GRAMMY Museum at .A. VE exp ores and ce ebrates the endur ng egac es of a forms of mus c; the creat ve process; the art and techno ogy of the record ng process; and the h story of the GRAMMY® Awards, the prem er recogn t on of recorded mus c accomp shment. Wa den Med a s gratefu to The GRAMMY Museum for the r generous contr but ons to the contents of th s gude and the r expert rev ew of the curr cuum created from those contr but ons. To earn more about The GRAMMY Museum, v s t

www.grammymuseum.org

It Starts with a songunderstanding music formsmusic epicenters / new york city

spotlight on the 1970s / be a music critic like willculture shock, 1950s - 2000 revolutions of recorded soundnational content standards for activities

Table of Contents

ACTIVITY 1:activity 2:activity 3:

activity 4:

activity 5:activity 6:

Our PARTNERS

We Know It’s Only ROCK & ROLL But–



teacher reference page

Charlotte Barnes (Aly Michalka)

and Bug (Charlie Saxton) are

members of a band called I Can t

Go On, I ll Go On in BANDSLAM.

Karen Burton (Lisa Kudrow)

is Will Burton s proud and pro

tective mother in BANDSLAM.

Will Burton (Gaelan Connell)

is a passionate music expert in

BANDSLAM.

Apr l 14, 2009

Dear Colleague

As you watch BANDSLAM, I’m certa n that you catch the enthus asm that young people br ng to mus c mak ng every day all across our nat on. And I’m also certa n that the enthus asm expressed by the characters n the mov e matches the enthus asm that you observe n your school’s students when they nteract w th mus c.

And we have new ev dence that documents the mportance of that nteract on. For example

A Harr s poll showed that h gh schools w th strong mus c programs have h gher attendance and graduat on rates than those schools w thout such programs.

A recent study showed that mus c study s strongly assoc ated w th h gher l felong educat onal atta nment and even h gher l fet me earnng potent al.

mus c study has a longstand ng correlat on w th standard zed test scores, and w th mportant ntell gence measures

W th all of th s, t’s d ff cult to understand when we have cutbacks to mus c programs. But the cutbacks keep appear ng, wh ch means that all too many Amer can students don’t get the benef ts of a full, balanced educat on that ncludes mus c. And though mus c s so compellng n tself that students w ll naturally seek mus c exper ences outs de of the school env ronment, the value of d scplned, sequent al mus c study s such that th s sub ect must be at the core of each and every one of our schools. It’s l sted that way n Federal educat on leg slat on, t’s recognzed n the academ c standards of the states, and t’s the r ght thng for our chldren.

I hope that you w ll o n w th me n work ng to make certa n that all of our students rece ve the benef ts of mus c as part of the r school exper ence. One thng you and your students can do r ght now s to s gn the Pet t on for Equal Access to Mus c Educat on at www.thepet t ons te.com/157/pet t on for mus c ed.

Sncerely,

Barbara GeerPres dent, MENC The Nat onal Assoc at on for Mus c Educat on

•••



Bug (Charlie Saxton) is a talented bass player for the band I Can t Go On, I ll Go On in BANDSLAM.

Sa5m (Vanessa Hudgens) loves reading and making music in BANDSLAM.

Charlotte Barnes (Aly Michalka) is a singer songwriter in BANDSLAM..

The songwr ters of “Tn Pan

A ey” fed th s nat ona

mar et. ocated a ong

West 28th Street

between Broadway

and S xth n New

Yor C ty, the area

was f ed w th sheet mus c pub shers and re ated bus nesses.

The no se of many songwr ters bang ng out new mater a on

the r p anos gave the street ts name. A though at frst the name

referred to one ocat on, Tn Pan A ey s now used to refer to

ma nstream Amer can popu ar mus c from the 1890s unt the

ear y 1950s and the ma n songwr t ng sty es of the t me.

Ear y Amer can song came from European

c ass ca , fo , and sacred mus c. But n

the md 19th century, un que Amer can

sty es began to appear. These songs

b ended s mp e me od es w th yr cs

about Amer can fe and and. By the

c ose of the 19th century, the growth of

transportat on and manufactur ng brought a nat ona mar et for popu ar

songs. They were promoted nat onw de n trave ng mnstre shows and

through pr nted sheet mus c. Than s n arge part to the ra road and other

new techno og es, these songs and the r wr ters were among the frst to

fnd a nat onw de “popu ar” aud ence.

In the mid 19th century, Daniel Emmett and Stephen Foster became some

of the first widely published songwriters of American popular music. Their

music (including Emmett’s “Dixie” and Foster’s “Oh! Susanna”), spread

throughout the country, made popular by traveling minstrel shows.

It Starts With a SONG

The Birth of

AMERICAN

POPULAR SONG

TIN PAN ALLEY:

Birthplace of the

Music Industry

activity 1:

BANDSLAM celebrates words and music, two things that come together in songwriting. Explore the beginnings of American songwriting and popular musical entertainment.



student reference page

The Band The Daze are

finalists at Bandslam because

of their unique style and

songwriting in BANDSLAM.

An Amer can enterta nment made up of com c s ts, var ety acts, dancng, and mus c, performed by wh te peop e n

b ac face or, espec a y after the Amer can Cv War, b ac s n b ac face. M nstre shows were once a very popu ar (and very acceptab e) form of enterta nment. Today mnstre shows are seen as r d cu ng Afr can Amer cans dep ct ng them as azy, buffoon sh, gnorant, mus ca or oyous. How do you account for the d fference n att tudes about mnstre shows over t me?

TALK

ABOUT

IT!

Court

esy

of

The

GRA

MM

Y M

use

um

The term “songw r t e r ” refe rs to a person who wr tes songs ( n genres e c ass ca and azz, the term “composer” s more common y used). Pr or to Wor d War , most popu ar

performers d d not wr te the r own mater a , re y ng nstead on profess ona songwr ters. W th a few except ons to th s (part cu ar y n fo , bues, and country mus c), pop songwr ters hard y ever performed themse ves.

Th s began to change n the years fo ow ng Wor d War . As new sounds and sty es emerged, art sts who both wrote and performed the r mater a found popu ar ty. Today s popu ar mus c s fed by songwr ters from both trad t ons. Whether performng the r own songs or creat ng mater a for other art sts, songwr ters cont nue to be the frst of many creat ve peop e who p ay a ro e n br ng ng you your favor te songs whether they be roc , pop, country, hp hop, R&B, or another popu ar genre.

Actor, dancer, producer,

and songwr ter, George M. Cohan. The father of Amer can

mus ca comedy wrote many p ays and popu ar songs, ncud ng “G ve

My Regards to Broadway,” and “Over There.”

The “Father of the B ues,”

W.C. Handy, ear y 1940s. H s song, “St. ou s B ues,” f rst

pub shed n 1914, was among the frst w de y pub shed popu ar songs

to present e ements of bues mus c n a standard form.

Composer Scott Jop n s

“Map e eaf Rag,” f rst pub shed n St.

ou s, ke y so d over one m on cop es. t p ayed

an mportant ro e n ntroducng “ragged rhythms” to popu ar

song.

Band eaderand composer

John Ph p Sousa (“The Stars and

Str pes Forever”) was among the most

pub shed popu ar songwr ters of the ate 19th

century.

J mm e Rodgers, the

“father of country mus c”; Thomas A.

Dorsey, the “father of gospe mus c”; and Woody Guthr e,

egendary fo k s nger.

activity 1:

It Starts With a SONG (cont’d)

Some songwriters create work so enduring that it sets a standard for everything that comes after.

MINSTREL SHOWS




BANDS AM, W w es e e s o Dav d Bow e, w o s bo a so gw e a d a pe o me W a s abou Dav d Bow e s so gs a makes W w e o m a d e m abou s e? W y do you k e Dav d Bow e so g “C a ges” s W s g o e?

TALK ABOUT

IT!

Will’s Favorite songwriter

1. Another word for a songwr ter, th s term s used when referr ng to one who wr tes c ass ca or azz mus c _ _ _ _ m _ _ _ _ _ _ _ _ _ _

2. He s cons dered the “Father of Gospe Mus c” _ _ _ _ _ _ _ _ _ _ _ _ A. _ _ _ _ _ _ _ _ _ _ _ _ 3. An ear y Amer can enterta nment cons st ng of com c s ts, var ety acts, dancng, and mus c, performed by wh te peop e n b ac face or, after the Amer can Cv War, b ac s n b ac face. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

4. The no se of count ess songwr ters bang ng out new mater a on the r p anos gave th s New Yor C ty street ts name. _ _ _ _ _ _ P _ _ _ _ _ _ _ _ _ _ _ _ _ _

5. He wrote “Oh! Susanna.” _ _ _ _ _ _ _ _ _ _ _ _ _ _ F _ _ _ _ _ _ _ _ _ _

6. John Ph p Sousa, band eader and composer, wrote th s famous Amer can song. “ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ S _ _ _ _ _ _ _ _ _ _ _ _ F _ _ _ _ _ _ _ _ _ _ _ _”

7. He s cons dered the “Father of the B ues” and h s song “St. ou s B ues” was frst pub shed n 1914 and he ped ntroduced e ements of bues mus c n a standard form. W. _ _ _ _ _ _ _ _ _ _ _ _ 8. Th s “ragged rhythm” was wr tten by Scott Jop n, e y so d over a m on cop es, but was frst pub shed n St. ou s not New Yor C ty. “_ _ _ _ p _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _”

9. He s nown as a egendary fo s nger. _ _ _ _ _ _ _ _ _ _ G _ _ _ _ _ _ _ _ _ _ _ _

10. After th s event, art sts began to appear who a so performed the mater a they wrote. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Use what you’ve learned about the beginnings of songwriting and popular music to fill in the words that follow each statement. Some letters have been filled in for you.

It Starts With a Song

student activity sheet

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rage

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danc

ers

and

ca o

t fre

nds

and

othe

rs to

the

foor

.

As t

hese

voc

a d

tes f

e to

the

r fre

nds

the

anno

ncem

ents

be

cam

e nc

reas

ngy

wtty

and

com

pex

—an

d ra

p w

as o

n ts

way

. S

nce

arrv

ng o

n re

cord

n

979

t h

as s

nce

gone

th

rogh

sev

era

ma

or s

tyst

c sh

fts d

rven

as

mch

by

the

evo

vng

sks o

f ts

yrc

sts a

s ma

or c

hang

es n

the

tech

noog

y th

at s

se

d to

pro

dce

the

msc

.

Dsm

ssed

as a

tren

d w

hen

t arr

ved

rap

has s

nce

end

red

and

evo

ved

to b

ecom

e on

e of

the

wor

ds

mos

t pop

ar a

nd

dyna

mc

msc

form

s.

• DJ

Koo

e

c

• Aka

Bam

baa

aa,

“Pa

e R

ock”

• Ga

dmas

e F

as,

“Te

Adv

eu

es o

Ga

dmas

e F

as

O

e W

ees

o

See

”

• Sug

a

Ga

g,

“Rap

pes

De

g”

An

eary

96

0s J

ama

can

msc

form

ska

s so

nd

borro

wed

hea

vy

from

Am

erca

n az

z an

d po

p a

ong

wth

men

to a

oc

a m

sc. S

ka e

mp

oyed

nm

ero

s ho

rns

an e

nerg

etc

danc

ebea

t an

d a

dst

nct

sand

ex

bera

nce

ts

fag

shp

gro

p w

as t

he S

kata

tes

wh

ch f

rom

96

3 to

96

7 w

as J

ama

cas

mos

t pop

ar b

and.

D

rng

ths

tme

the

Skat

ate

s m

ade

ska

s sg

nat

re re

cord

ngs

nder

the

dre

cton

of

egen

dary

pr

odce

r Cox

sone

Dod

d at

hs

Std

o O

ne.

ed b

y tro

mbo

nst

Don

Dr

mm

ond

the

Skat

ate

s fe

atre

d m

ore

than

a d

ozen

msc

ans

ncd

ng h

orn

pay

ers

omm

y M

cCoo

k an

d Ro

and

Aph

onso

and

bas

sst

oyd

Nbb

s w

ho b

acke

d sk

a vo

cast

s. A

mer

ca w

as

ntro

dce

d to

a m

ans

tream

ver

son

of

ska

whe

n te

en-a

ger

Me

Sma

had

a h

t n

964

wth

M

y Bo

y o

pop.

Des

pte

ts

over

whe

mng

pop

arty

n J

ama

ca s

ka h

ad r

n ts

co

rse

by th

e at

e 96

0s g

vng

way

to ro

ck s

tead

y an

d re

ggae

. n

the

ate

970s

a s

ka r

evva

beg

an n

Eng

and

and

spre

ad to

th

e U.

S. t

hank

s to

U.

. ban

ds M

adne

ss a

nd t

he S

pec

as

wh

ch

com

bne

d sk

a an

d e

emen

ts o

f pnk

and

new

wav

e.

Aso

a

thrd

wav

e e

mer

ged

n th

e U.

S. b

y th

e m

d 99

0s

wh

ch n

cde

d ba

nds s

ch a

s No

Do

bt w

hch

org

nay

bega

n as

a s

ka b

and.

n 94

9 B

boar

d m

agaz

ne s

taffe

r (a

nd f

tre

Ata

ntc

Reco

rds

partn

er J

erry

Wex

er c

one

d th

e te

rm

rhyt

hm &

b

es t

o re

pac

e th

e of

fens

ve t

erm

ra

ce r

ecor

ds o

n th

e p

bca

ton

s b

ack

msc

cha

rt.

he n

ame

sa

y de

scrb

ed

swng

-der

ved

sma

-gro

p m

p b

es re

cord

s fe

atrn

g p

ano

and

saxo

phon

e so

ost

s th

at h

ad b

een

pop

ar s

nce

the

eary

94

0s.

os

Jord

an R

oy M

ton

Roy

Bro

wn

Wyn

one

Har

rs J

mm

y an

d Jo

e gg

ns C

hare

s Br

own

and

Nat

ng

C

oe

wer

e am

ong

the

mos

t scc

essf

ear

y R&

B ac

ts.

By th

e ea

ry

950s

the

R&B

mon

ker/

nam

e en

com

pass

ed

the

pop

ar w

ork

of s

nger

-gta

rsts

Gta

r S

m a

nd J

ohn

ee H

ooke

r vo

cast

s R

th B

row

n F

aye

Ada

ms

vory

Joe

H

nter

and

Bg

Joe

rner

and

voc

a g

rops

ke

the

nk

Spot

s th

e D

omno

es t

he C

over

s th

e D

rfte

rs a

nd t

he

5

Roya

es. S

nger

-pan

st R

ay C

hare

s w

hose

gos

pe-d

erve

d st

ye

was

roo

ted

n m

p b

es w

as t

he q

ntes

sent

a R

&B

ar

tst o

f the

day

.

• Te

Ska

aes

, “G

us

o N

ava

oe”

• Te

Do

Dum

mo

d A

Sa

s

• Jac

ke

Moo

ad

e So

u V

edo

s

• Te

Spec

as,

“A M

essa

ge o

You

Rud

y”

• Mad

ess

• Me

Sma

, “M

y B

oy

opo

p”

• ou

s Jo

da &

s

Tym

pay

Fve

,

“Coo

Coo

CB

oog

e”

• Te

De

s

• Ray

Ca

es, “

ve G

o a

Wom

a”

• Te

Dom

oes,

“Sx

yM

ue

Ma

”

Impo

rtant

A

rtist

s:

Impo

rtant

Art

ists

and

Ban

ds:

Impo

rtant

Art

ists

and

Gro

ups:

log

on t

o w

ww

.wal

den.

com

for

add

itio

nal a

ctiv

itie

s &

info

rmat

ion

regi

ster

at

ww

w.w

alde

n.co

m/b

ands

lam

to

win

a $

250

gift

car

d fo

r yo

ur c

lass

room

.

Unders

tandin

g M

usic

FORMS (

cont’d

)

acti

vity2

:

RAP

SKA

CLASS

IC (Tra

ditional)

RHYTHM &

BLUES

(R&B)

stud

ent

refe

renc

e page

Rap

is on

e of

the

man

y m

usic

form

s se

en a

nd h

eard

in

BA

ND

SLA

M.

he

rra

so

nd

s of

co

ntr

y

&

west

ern

m

sc

gra

da

y

merg

ed

wth

e

em

ents

of

pop

n

the

96

0s b

road

en

ng

the

sty

es

ap

pea

.

n

add

ton

to

(and

som

etm

es

rep

ac

ng

the

sgnat

re

ped

a

ste

e g

tar sw

eep

ng

strngs

swe

ete

ned

th

e

sond

. M

ae a

nd

fem

ae c

hor

ses

smo

oth

ed

ot

twangy v

oca

s. S

ong

yrcs

foc

sed

on b

roken h

eart

s and

the tro

bes

of

mod

ern

fe

. A

t frs

t

ma

e sngers

w

ere

th

e m

aorty

of

co

ntr

y

sng

ers

b

t

gra

da

y

ma

ny

wo

me

n

be

ca

me

stars

of

co

ntr

y

ms

c to

o.

Co

ntr

y or

rra

b

es

was

the frs

t k

nd

of

bes

ts

ro

ots

exte

nd

b

ack to

th

e

ate

8

00

s.

Payed

p

rm

ar

y

by

ma

e

ms

cans

co

ntr

y

bes

took s

hap

e n

ke o

nts

at

fsh

fres

and

d

rng

Sat

rday

nght

pa

rtes

where

ve

ente

rta

nm

ent

occ

rred

.

yp

ca

y so

ngs

were

p

erf

orm

ed

on

gta

r w

th

occas

ona

ha

rmon

ca

accom

pan

ment.

Afr

can-A

mercans

vng

on

or

nea

r

panta

tons

em

bra

ced

co

ntr

y b

es

as

a m

an

sorc

e of

ente

rta

nm

ent

and

as

a f

d fo

rm of

ct

ra exp

ress

on.

M

any co

ntr

y b

es

song

s

refect

the hard

tm

es

exp

erenced

by So

thern

backs

drng the J

m C

row

era

.

No o

ne k

now

s w

ho t

he f

rst

co

ntr

y b

esm

an

was s

nce record

com

pan

es on

y b

egan record

ng

co

ntr

y b

es

art

sts

n the m

d-

90

s—yea

rs a

fter

the m

sc fo

rm s

rfaced

. Sem

na

co

ntr

y b

es

art

sts

nc

de C

harey P

atton

Son H

ose

and

the

egend

ary

Rob

ert

Jo

hnso

n a

fr

om

M

ssss

pp

Bnd

em

on J

effers

on fro

m

exa

s a

nd

Bnd

Ba

ke

from

Georg

a a

nd

Ford

a.

od

ay

th

e co

ntr

y b

es

form

re

ma

ns

ave

n th

e m

sc of

eb

M

o

a M

aha

and

Jo

hn

Ham

mond

.

he

term

p

nk

rock

w

as

org

na

y

em

poyed

n

970

by w

rte

r N

ck

osc

hes

to

desc

rb

e w

ha

t s

now

know

n a

s g

ara

ge r

ock.

n

ts m

ore

com

mon

ate

r sa

ge

pnk d

efnes

a ty

pe of

econom

ca

o

d a

gg

ress

ve ro

ck

form

ate

d n the m

d- a

nd

a

te 70

s n rea

cton

to

the

perc

eved

b

oa

t a

nd

d

eca

dence

of

the e

ras

pop

and

dsc

o.

nte

ns

ty w

as

va

ed

ab

ove

techn

ca

exp

ert

se

and

th

e

ms

cs

most

ce

eb

rate

d p

erp

etr

ato

rs d

rew

nsp

raton

from

sch ra

co

s p

red

ecess

ors

as

the S

toog

es

and

the N

ew

York

Do

s. B

eftt

ng

a r

eneg

ad

e

movem

ent m

any p

nk b

and

s re

ea

sed

th

er

work

as

nd

ep

end

ent-

ab

e s

ng

es.

ho

gh p

one

ers

ke the R

am

ones

rece

ved

cro

s m

ed

a a

ttenton

on

y th

e C

ash

a

nd

sch new

w

ave-ea

nng

a

cts

a

s B

ond

e a

nd

ak

ng

Hea

ds

so

d m

any r

ecord

s n t

he d

ay

and

th

e frs

t p

nk ep

och w

as

short

-ved

. B

t

the

ms

c

end

red

to

nsp

re

a

nm

ber

of

cha

rt-top

png

b

and

s

nc

dng

N

rva

na

a

nd

Gre

en D

ay.

• G

eo

ge J

oes,

“e S

op

ped

ov

g

e T

od

ay”

• Ta

mm

y W

ye

e , “

Sa

d B

y

You

Ma

”

• o

ea

y

, “C

oa

Me

s

Da

ug

e”

• Rob

e J

oso

, “

eou

ds

o M

y T

a”

• C

aey P

ao

• B

d

em

o J

ee

so, “S

ee T

a M

y

Gave s

Kep

Cea

”

• B

d B

ake “

Ddd

e W

a D

dd

e”

• Ra

mo

es,

“B

zk

eg

Bop

”

• Pa

Sm

• T

e C

as

, “W

e R

o”

• Te

ev

so

, “

e J

oy J

ew

e”

Imp

ort

ant

Art

ists

and

Band

s:

Imp

ort

ant A

rtis

ts:

Imp

ort

ant A

rtis

ts a

nd

Band

s:

Om

ar

(Tim

Jo) is

a rock

guitarist

in B

AN

DSLA

M.

The c

row

d a

t B

and

slam

is

full

of

exc

ite

ment and

energ

y in

BA

ND

SLA

M.

Msc

gen

re

desc

rpto

ns c

ort

esy

of

he G

RAM

MY

Mse

m.

log

on t

o w

ww

.wal

den.

com

for

add

itio

nal a

ctiv

itie

s &

info

rmat

ion

regi

ster

at

ww

w.w

alde

n.co

m/b

ands

lam

to

win

a $

250

gift

car

d fo

r yo

ur c

lass

room

.

Unders

tandin

g M

usic

FORMS (

cont’d

)

acti

vity2

:

COUNTRY

COUNTRY B

LUES

PUNK

stud

ent

refe

renc

e page

What makes one mus c

form “cross over” nto

another form?

TALK ABOUT

IT!

Crossing Over

Will Burton is an expert on many genres of music. Read about Will’s favorites and find out about some of yours. Then use this sheet to compare and contrast rock & roll with two other forms of music.

Type of Mus c Rock & Ro

Ma or performers

Other nfuences

Character st cs of

the sty e

Where the mus c s

performed?

Why, when, where

and/or how

d d th s form come

about?

Understanding Music Forms


NAME DATE

Pac

es a

nd t

mes

whe

re th

e so

nd o

f A

mer

can

msc

cha

nged

.

Wth

hnd

reds

of t

hosa

nds

of A

mer

cans

n se

arch

of m

sc

to p

ay o

n th

er

new

mas

s-pr

odce

d p

anos

th

e h

ste

and

bst

e of

New

Yor

k C

ty

has

a ne

w b

oom

ng b

snes

s—n

Pan

Aey

. P

bsh

ed m

sc

son

gs fo

r sa

e.

Msc

p

bsh

ers

ntro

dce

th

er

song

s n

the

cty

s po

par

va-

rety

-sho

w t

heat

ers.

he

se t

heat

ers

pop

p ar

ond

mdt

own

Man

hat-

tan

s br

ghty

t G

reat

Wh

te W

ay—

Bro

adw

ay. W

hen

a so

ng h

ts th

ere

t

goes

on

the

road

whe

re t

he g

row

-ng

thea

ter c

rct c

an q

cky

mak

e t

a h

t thr

ogh

ot t

he c

ont

ry.

As t

he e

pce

nter

of t

he p

opar

msc

nd

stry

9

0s N

ew Y

ork

s ho

me

to

man

y ab

es

std

os a

nd p

bsh

ers.

Com

pose

rs

rvng

Ber

n G

eorg

e an

d ra

G

ersh

wn

and

Co

e Po

rter

am

ong

man

y ot

hers

cre

ate

egen

dary

son

gs p

artc

ary

for

the

show

s of

Bro

adw

ay.

he

nato

ns

new

est

and

hotte

st

msc

—az

z—a

so f

nds

a pe

rman

ent

hom

e n

the

cty

. D

ke E

ngto

n fn

ds a

hom

e at

the

C

otto

n C

b w

he

Fet

cher

Hen

ders

ons

bg

band

s

one

of t

he m

ost

pop

ar p

ayng

n

Har

em.

Cot

ton

Cb

star

Dke

Eng

ton

and

Hs

Orc

hest

ras

93 h

t t

Don

t M

ean

a hn

g f

t A

nt

Got

ha

t Sw

ng

sher

s n

the

era

of

bg-

band

sw

ng.

he

C

otto

n C

b

the

Savo

y B

aro

om a

nd t

he A

poo

heat

re b

ecom

e ep

cent

ers

wth

n N

ew Y

ork

nrt

rng

band

eade

rs C

hck

Web

b an

d C

ab C

aow

ay a

s we

as

sng

ers

Ea

Ftz

gera

d a

nd B

e H

od

ay.

New

Yor

ks

azz

scen

e b

ecom

es

a m

sca

ab

orat

ory

n

the

eary

-to-m

d 94

0s a

s a

gro

p of

yo

ng p

ayer

s se

ek to

rec

am

azz

from

th

e co

mm

erc

a s

ond

s of

b

g ba

nds

ke t

hose

of

Gen

n M

er a

nd

omm

y D

orse

y.

rm

pete

r D

zzy

Ges

pe

sa

xoph

onst

C

har

e Pa

rker

and

pan

st

heon

os

Mon

k a

mon

g ot

hers

dev

eop

the

fre

sh

sty

e n

a-n

ght

am

sess

ons

at H

arem

ngh

t sp

ots.

P

ayed

by

sm

a

com

bos

ths

com

pca

ted

msc

s

defn

tey

not

for

da

ncng

. A

94

5 G

esp

e

reco

rdn

g ca

ptre

s th

e na

me

of th

e m

sc

Be

Bop

. D

rven

by

a n

ew b

reed

of

both

m

scan

s an

d st

ener

s ts

po

par

ty m

arks

the

start

of

mod

ern

azz

.

hro

gh

ot

the

950s

the

C

ty

hat

Nev

er

Se

ep

s b

are

y ha

s tm

e to

nap

am

d a

the

m

sca

cha

nges

tak

ng

pac

e.

he r

se o

f oc

a

ndep

end

ent

reco

rd

abe

s s

best

st

rate

d b

y

the

s

cce

ss

of

Ata

ntc

Reco

rds

wh

ch

eads

th

e R&

B

char

ts

wth

hts

by

Rth

Bro

wn

B

g Jo

e rn

er a

nd R

ay

Cha

res

. M

eanw

he

az

z fo

rsh

es

wth

gr

ond

brea

kng

hard

bo

p re

cord

ngs

by s

ch

gan

ts

as

Mes

D

avs

and

John

Co

trane

. And

by

th

e de

cade

s en

d

the

co

ffe

eho

ses

of

Gre

enw

ch

Vag

e ar

e f

ed w

th t

he s

ond

s of

an

em

erg

ng fo

k re

vva

on

e th

at

vaes

so

ngs

abo

t soc

a c

hang

e.

1890s

1900

s

1920s

1930

s

1940

s19

50s

Frie

nds

and

fello

w

mus

icia

ns c

ruise

aro

und

tow

n in

BA

ND

SLA

M.

log

on t

o w

ww

.wal

den.

com

for

add

itio

nal a

ctiv

itie

s &

info

rmat

ion

regi

ster

at

ww

w.w

alde

n.co

m/b

ands

lam

to

win

a $

250

gift

car

d fo

r yo

ur c

lass

room

.

Music

Epicenters

/NEW

YORK C

ITY

EPIC

ENTE

R:

acti

vity3

:

Will

take

s Sa

5m to

New

Yor

k C

ity a

nd s

how

s he

r ju

st w

hat a

cen

ter

of m

usic

act

ivity

, or

epic

ente

r, it

is. T

his

activ

ity e

xplo

res

wha

t mak

es a

mus

ic e

pice

nter

ove

r tim

e by

look

ing

at N

ew Y

ork

City

.

Then

its

your

turn

to fi

nd o

ut a

bout

a m

usic

epi

cent

er n

ear

you.

1930

s19

50s

1940

s1890

s1920

s1900s

stud

ent

refe

renc

e page

Sa5m

(Van

essa

Hud

gens

) and

Will

Bur

ton

(Gae

lan

Con

nell)

expl

ore

New

Yor

k C

ity in

BA

ND

SLA

M.

Sa5m

and

Will

find

CB

GB

, the

bi

rthp

lace

of P

unk,

in B

AN

DSL

AM

.

he

grtty

stre

ets

of

970

s N

ew

York

gve b

rth t

o m

any n

ew

so

nd

s e

vent

ay

nc

dng

pnk

d

sco

sa

sa

and

h

p-h

op

.

Pone

ere

d b

y t

he V

evet

Und

erg

rond

and

the

New

York

D

os

p

nk cente

rs

arg

ey aro

nd

the se

ed

y

ow

er

East

S

de c

b C

BG

B.

he

acts

—nc

dng t

he R

am

ones P

att

Sm

th G

rop

am

ong m

any o

thers

—are

ms

ca

y v

ery

dvers

e

and

the

r re

be

osn

ess

sp

read

s q

ck

y.

Sharp

y c

ontr

ast

ng w

th p

nk s

dsc

o.

he b

est

sym

bo

fo

r d

sco w

as

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tow

ns

gtz

y St

do

54

and

97

7s

Bro

ok

yn-s

et

fm

Sat

urda

y N

ight

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ver

wh

ch

ghts

a n

atona

d

sco fever.

n the

meantm

e b

aro

om

s a

cro

ss to

wn are

p

acked

wth

dancers

mov

ng t

o a

dffere

nt

sond

. B

t

pon th

e b

ase

of

Cb

an so

nd

th

s em

erg

ng

sty

e—

nam

ed

sa

sa b

y F

an

a R

ecord

s h

om

e to

the m

sc

s b

ggest

sta

rs—

s an e

xctng b

end

of

pan-

atn s

ond

s w

th p

an-

atn a

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ea

.

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y fro

m the to

gh s

tre

ets

of th

e B

ronx

nner-

cty

k

ds

wth

tt

e access

to

any of

the ab

ove

are

b

sy cre

atng th

er

ow

n so

nd

st

ye

and

ct

re k

now

n a

s h

p-h

op

. Sta

rtng n t

he

970

s

the term

was

hst

orca

y

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to d

esc

rb

e

nq

e

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ercan

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tre

that

exp

ress

ed

ts

ef

n

for

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nts

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o

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pp

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akd

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and

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fft.

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eg

nn

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ate

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asng

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om

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ream

pop

ms

c. S

nce t

hen

the t

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genera

y to d

esc

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e

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ms

c

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e

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0s arr

ve

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rea

dng

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de. O

ver th

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ors

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f th

e

decad

e t

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sc c

hanges

qck

y

and

dra

matca

y a

nd

n o

ny a

few

years

the s

tye

s ear

est

sta

rs—

am

ong

them

Gra

nd

mast

er

Fash

and

th

e F

ro

s F

ve

and

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s B

ow

—are

are

ad

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when f

ength

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ts f

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record

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tre

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rm

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swaggery

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sc and

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s

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harp

contr

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to t

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me v

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p and

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s a new

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recton fo

r

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of

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sg

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record

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s. Est

ab

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of

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wth

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ea

ses

by B

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rag

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ck

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f th

e

99

0s

most

mp

ort

ant

record

ng

a

be

s.

New

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s

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a n

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of

yo

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ba

nd

s th

at

are

bsy

rec

am

ng

New

York

s p

ace a

s a

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pcente

r of new

and

pop

ar

ms

c.

he m

ost

sccess

f o

fferng

mod

ern

and

nd

vd

a t

wst

s w

heth

er

ts t

he S

trokes r

et

ned

refe

rences

to

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s N

ew

York

nte

rpo

s a

sons

to

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0s

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and

or

CD

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nd

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em

s ro

ck

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ass

c h

ose

and

techno s

tyes.

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esy

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RA

MM

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use

um

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ach a

mus

c e

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ea

you o

o n

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o y

ou.

he A

cv

y S

he

e o

n

he n

ex

page w

he

p y

ou g

e s

aed

.N

ew

York

contn

es

to b

e a

tre

nd

sett

er

n

the

fast

-paced

96

0s.

nsd

e

the

ms

c

pb

shng

off

ces

of

mes

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are

s B

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ng

yo

ng

songw

rtng

tea

ms

ke

G

err

y

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n

and

Caro

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ng b

rng a

new

pers

pectve to

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he

th

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vva

of

fok m

sc t

akes

f f

ght

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ch

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ge.

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sts

sch a

s Jo

an B

aez r

eease

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on

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de

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ab

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ke

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ard

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ktr

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co

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to e

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sc

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5

ma

rkng

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tr

ty

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&

ro

nto

s

mp

y

rock.

h

e c

tys s

td

os

and

c

bs

aso

se

e

azz

stre

tch

ng

n n

ew

dre

ctons.

YOUR

TUR

N!

log

on t

o w

ww

.wal

den.

com

for

add

itio

nal a

ctiv

itie

s &

info

rmat

ion

regi

ster

at

ww

w.w

alde

n.co

m/b

ands

lam

to

win

a $

250

gift

car

d fo

r yo

ur c

lass

room

.

Music

Epicenters

/NEW

YORK C

ITY (

cont’d

)

acti

vity3

:

1990

s20

00s

1960

s1980

s1970

s

1960

s19

70s

1980

s

1990s

200

0sstud

ent

refe

renc

e page

TALK

!

Use this outline as you do your music epicenter research. Work on your own with a partner or in a group. Present your results to your classmates.

1. What mus c form(s) s/are your favor te(s)?

2. Where d d t/they get ts/the r start?

3.. Choose a mus c ep center to exp ore across a per od of t me(Examp es os Ange es, Ph ade ph a, Nashv e, Memph s, New Or eans, Da as, Ch cago)

4. Dur ng what t me per od d d th s area or c ty beg n to become a mus c ep center? Why? For what form(s) of mus c?

5. Who were some ey mus c ans and/or groups that emerged from th s mus c ep center? What brought them? What made them stay? How d d they nteract w th one another?

6. What are some mportant p eces of mus c or record ngs that came out of th s mus c ep center? (Can you fnd samp es of th s mus c on ne?)

7. What s the most nterest ng thng you earned about your mus c ep center?

8. What s the most surpr s ng thng you earned about your mus c ep center and/or ts mus c?

Other Music Epicenters

Research a music epicenter near you or of interest to you


NAME

DATE

Be an informed music critic --like Will. Listen to three songs from the “Spotlight on the 1970s” era:

1. Descr be, then compare and contrast the instr ments and vocals n a three songs.

Descr be

Compare

Contrast

2. Descr be, then compare and contrast the songs yr cs, top cs, and moods.

Descr be

Compare

Contrast

3. Wh ch of the three songs s your favor te? Why?

Spotlight on the 1970s

Be a Music Critic Like Will • Punk “I Wanna be Sedated” ( 978) by The Ramones • Disco “Stayin’ Alive” ( 977) by the Bee Gees

(a be e ep ese a o may be C c Good Tmes w c ad p ofou d fue ce a d was samp ed by ma y o e so gs fo ow g ) • Hip hop “It’s Like That” ( 984) by Run DMC


NAME

DATE

Will Burton (Gaelan Connell) and Charlotte Barnes (Aly Michalka) discuss music and their lives in BANDSLAM.

Sa5m (Vanessa Hudgens) performs with the band I Can t Go On, I ll Go On in BANDSLAM.

Segregat on n the 1950s kept b acks and wh tes n separate ne ghborhoods and schoo s. But the mus c on the rad o a owed them to free y en oy each other s mus c. By the md 1950s, record store owners n the South not ced that ncreas ng numbers of wh te teens were buy ng R&B records by b ack performers ke Chuck Berry and tt e R chard. Soon wh te

performers ke E v s Pres ey, the Ever y Brothers, and others were re eas ng top songs on country & western, rhythm & bues, and pop charts, a at the same t me. Rac a pre ud ce d dn t d sappear, but for most steners, rock & ro he ped them to cross cu tura nes rather than obey them.

W th br ght y co ored outf ts and a pass on for mus c, E v s Pres ey became a symbo of 1950 s coo . arge numbers of teenagers took advantage of Amer ca s wea th n the 1950s and put off adu t goa s. They focused nstead on cars, dat ng and rock & ro . Adu ts often saw rock & ro as a bad nfuence on the r ch dren. n 1955, a Spec a Congress ona Subcomm ttee on Juven e De nquency even he d hear ngs on teen mov es ke The Wild One and Blackboard J ngle.

n the 1950s, te ev s on comed an Steve A en poked fun at the yr cs of rock n ro , thnk ng t ust a s y fad. However, n the 1960s, rock moved from a popu ar enterta nment to a strong force n the cu ture. Bob Dy an frst start ed steners w th song yr cs f ed w th narrat on and mages from the B b e. After they eft tour ng behnd, the Beat es began exper ment ng n the record ng stud o. They produced breathtak ng sounds and mu t part songs. After 1966, a number of art sts created mus c that got steners ta k ng about what they were hear ng.

For a wh e n the ear y 1960s, Bob Dy an was cons dered the spokesperson of the 1960 s generat on. And though he wasn t comfortab e w th the ro e, he was st part of a grow ng movement of young peop e that spoke for freedom from the va ues of the o der “estab shment.” Rock mus c, dent f ed w th sp r t and rebe on, was centra to th s youth movement.

Culture SHOCK, 1950s–2000activity 5:

Throughout history, music has been a powerful force of cultural change. Read about the

intersection of American music and culture at large over the past half century.

• e R cha d, u u • v s P es ey, Don Be C ue • ve y B o he s, Bye, Bye ove

• B a ey, Rock A ound he C ock• ank e ymon and he eenage s,

m No a Juven e De nquen• Chuck Be y, Schoo Days

• Bob Dy an, V s ons o Johanna• he Bea es, A Day n he e• Beach Boys, God On y Knows

• Bob Dy an, mes hey a e A-Chang n

• he Who, My Gene a on • Bu a o Sp ng e d, o

Wha s Wo h

CULTURECLIPS:

CULTURECLIPS:

RACIAL CROSSOVER

TEEN REBELLION

CULTURECLIPS:

CULTURECLIPS:

ROCK & ROLL ARTGENERATION GAP




Culture SHOCK, 1950s–2000 (cont’d)

activity 5:

The band I Can t Go On, I ll Go On contemplates their future in BANDSLAM.

At the center of the punk revo ut on was a re ect on of s ck, manufactured pop. The punkers dea was that anyone coud do t. Punkers nab ty to p ay was an nsp rat on to k ds everywhere to re ect fancy gu tar so os for aud o chaos and fancy stud o product on for the crazy echo of the garage. The rock of the Ramones and other punk bands returned rock t to ts bas c, w d roots.

Often t mes seen as a rowdy and offens ve form of mus c, the destruct ve behav or of punk was meant to send

a message. n the 1970s, rock had become the ma n money maker for most ma or abe s, and the b ggest bands, from the Eag es to ed Zeppe n, en oyed huge tour ng

budgets and a av sh festy e. Punk rockers re ected that excess as a s gn of ust how rotten they thought modern soc ety was.

Ear y rap appeared most y on oca abe s ke New York s En oy and Sugar H Records. However, after the Sugar H Gang h t t b g w th 1979 s “Rapper s De ght” and MC Kurt s B ow became the frst rap act s gned w th ma or abe , Mercury Records, n 1980, the mus c began to attract more ma nstream nat ona attent on. By the md 1980s, Run DMC, Sa tN Pepa, . . Coo J, and the Beast e Boys h t the top ten, chang ng the sound and stor es n modern popu ar mus c and openng the door, at the end of the decade, for West Coast rappers ke N.W.A. to take over the charts.

n the ate 1980s, Eazy E s abe , Ruth ess Records, was re eas ng songs dep ct ng gang v o ence, drugs, and po ce

bruta ty. Wh e th s “gangsta” rap woud qu ck y make a hero out of the out aw f gure for many wh te suburban k ds, Eazy E, ce Cube, ce T, Too Short, and others,

spoke from exper ence. Un ke ater gangsta rappers, they re ected the mater a sm of urban wh te peop e n the 1980s

and demanded respect and recogn t on.

The r songs served as a warnng to Amer ca about the poverty and cr me of South Centra .A. a most f ve years before those ne ghborhoods exp oded n r ots of 1992.

REBELLIOUS ROOTSCORPORATE ROCK

• he Ramones, B zk eg Bop • he Adve s, One Cho d Wonde s • Dead Boys, Son c Reduce

CULTURECLIPS: • Joe Wa sh, e s Been

Good• he B a ns, Money Changes ve y hng

CULTURECLIPS:

• N.W.A., Boyz n he ood • ce- , Co o s • oo Sho , C y o Dope

• . . Coo J, Can ve W hou My Rad o• Beas e Boys, gh o You R gh ( o Pa y) • Ku s B ow, he B eaks

CULTURECLIPS: CULTURE

CLIPS:

n BANDS AM, he s me W hea s he band he w soon wo k w h, hey p ay he song, Wan You o Wan Me. Who s pe o med h s song? Who w o e he song s y cs?

BONUS! NAME THAT TUNE!

RAP GOES NATIONAL BOYZ IN THE HOOD




Charlotte performs one of her original songs in BANDSLAM.

Brass players rehearse for the

Bandslam competition in BANDSLAM.

Grunge grew out of Seatt e s underground mus c scene n the ate 1980s, espec a y w th bands ke the Me v ns and Screamng Trees. The r mus c was ke heavy meta and punk mus c. But t was N rvana who most nfuenced the sound of popu ar mus c n the 1990s. Seemng y out of nowhere, N rvana s Nevermnd he ped to knock M chae Jackson out of the number one a bum spot n 1992 and br ng n a new sty e ca ed “grunge.”

After the success of N rvana s 1991 a bum, Nevermnd, ts ead s nger Kurt Coba n became the spokesperson for a new “ ost” generat on that was accused of be ng unnterested n seek ng fame and money. Many argued that the abe “Generat on X” was negat ve, but n

books, mov es, and popu ar mus c, the name stuck. There was a new generat on of young peop e nterested n a break w th the cheerfu out ook of the 1980s.

The year 2003 marked an h stor c moment for b ack art sts n October, every one of the top ten songs n the country was by a b ack performer. Wh e hp hop had so d we through the 1990s, t topped “urban” charts not pop charts. B board created a narrower “Pop 100” chart n 2005 to g ve rock and country acts a chance, but t was no use. n that year, 50 Cent was the frst art st s nce the Beat es to have the top four songs on the Hot 100 chart. H p hop had become a pop force.

• 5o Cen , n Da Cub• Beyonce, C azy n ove• udac s, Numbe One Spo

GRUNGE GENERATION X

• Pea Jam, B ack • N vana, A Apo og es • Beck, ose

CULTURECLIPS:• Me v ns, Revu s on/We Reach

• N vana, Sme s ke een Sp• Sc eamng ees, oub ed mes

CULTURECLIPS:

CULTURECLIPS:

HIP-HOP, NEW POP

Culture SHOCK, 1950s–20O0 (cont’d)

activity 5:




Bug (Charlie Saxton), Omar (Tim Jo), Sa5m,

Charlotte, and Basher Martin (Ryan Donowho) go

for a ride and blast some tunes in BANDSLAM.

Armed with information from your Culture Shock resource pages, write a short essay for each of these questions.

1. What was the message pun roc ers were try ng to send to corporate roc ? Why?

2. Descr be “grunge” mus c. Where d d t start out? Dur ng what era? What d d t try and express?

3. Why do you thn t s mportant that n October 2003 every one of the top ten songs n the country was by a b ac

performer?

4. Why has roc mus c been thought to encourage rebe on n young peop e?

Culture Shock, 1950s-2000


NAME

DATE

n the 1950s some adu ts be eved that rock

& ro caused teenagers to comm t cr mes

and become “ uven e de nquents.”

What made them thnk that?

TALK ABOUT

IT!

5. How did rock & roll help people “cross cultural lines?” What does “obeying cultural

lines” mean?

6. Why were “respect and recognition” important to gangsta rappers of the 980s?

7. What do you think this sentence means “ he right song at the right time can set you in

the right direction.”

Culture Shock, Continued


NAME

DATE

Charlotte Barnes (Aly Michalka) plays guitar and sings in BANDSLAM.



The acoust c record ng era began when Thomas Ed son

nvented the phonograph n 1877. He and other “ta k ng

machne” p oneers frst so d the r machnes to bus nesses.

They hoped that bus nesses woud use them as d ctat on

dev ces and te ephone answer ng machnes. By the

1890s, however, a surpr s ng new market emerged the

genera pub c. Peop e n amusement par ors pa d to

hear the r favor te songs, comed ans, and

performances. As compan es popped

up by the dozens to meet the

new demand, the

modern bus ness

of recorded sound

was born.

n acous c eco d ng, sound waves a e cap u ed by a eco d ng ho n.

A he end o h s ho n a hn d aph agm s a ached o a need e and

moves w h he sound. he mov ng need e sc a ches a pa h d ec y n o

a o a ng cy nde o d sc. ve y hng s eco ded a once, and oo much

vo ume can un a eco d ng.

Acous c eco d ng wasn pe ec . mean ha some sounds we e

eco ded mo e eas y han o he s. B ass was mo e aud b e han s ngs,

o examp e, and sma g oups o mus c ans we e eas e o eco d han

a ge g oups. a y eco d ng cy nde s and d scs coud on y s o e a ew

mnu es o sound, so onge p eces o mus c needed o be b oken down

n o sepa a e eco d ngs. he eco d ng d sc was nven ed n 888, bu s

sound wasn any be e han he sound eco ded on a cy nde . Bu d scs

coud be made mo e cheap y, qu ck y, and accu a e y han cy nde s.

hey we e a so much eas e o s o e. h s made hem eas e o peop e

o use. By he 9 0s, d scs ep aced cy nde s as he way o d na y peop e

s ened o sound.

The e ectro mechan ca record ng era began w th

the ntroduct on of the Western E ectr c record ng

system. t was patented by the Be Te ephone

Company. Th s system great y mproved the qua ty

of sound record ng. t made use of many new

techno og es such as m crophones, amp f ers, and

oudspeakers for e ectr c p ayback. E ectr ca

record ng and p ayback captured and produced

a greater range of sound w th ess d stort on than

before. By us ng many m crophones at

once, sound eng neers coud b end

or “m x” sounds as they were

recorded.

n e ec o-mechan ca eco d ng, a m c ophone changes sound waves

o an e ec c s gna . h s new s gna , ca ed an ana og, behaves ke he

o g na waves bu can now be p ocessed us ng amp e s, equa ze s, and

o he e ec c e s. hese e s mp ove he qua y and s eng h o he

ana og s gna . he esu d ves a need e ha cu s he na eco d ng n o

a d sc.

ec o-mechan ca eco d ng made poss b e o eco d an nc eased

ange o qu e and oud sounds. h s esu ed n he c oone , an en e y

new ype o s nge who used a m c ophone o s ng swee y and so y.

a so a owed sounds o be eco ded mo e accu a e y and mo e o en. h s

he ped sp ead he mus c and pe o mance s y es o azz, coun y, and

bues na onw de.

Reco d ngs n he acous c and e ec o-mechan ca eco d ng e as we e

a cu d ec y o a cy nde o d sc. h s o g na eco d ng was known as he

mas e . a y eco d ng eng nee s ed o make he mas e s sound as

c ose as poss b e o he ve pe o mances hey eco ded.

Will s world changes when his band s performance at BANDSLAM

is recorded and then uploaded to the internet for all the world to

hear. In an age of digital downloads and personali ed playlists,

it s easy to take for granted the impact of sound recording on our

world. Learn about how whirling cylinders and spinning hard discs

—revolutions of recorded sound—make entirely new sounds possible,

and alter how and where we hear them.

I. ACOUSTIC RECORDING: 1877-1925

II. ELECTRO-MECHANICAL RECORDING: 1925-1950s

HO

W IT

WO

RKS

HO

W IT

WO

RKS

activity 6:

Revolutions of RECORDED SOUND


Cou

es

y o

Te G

RA

MM

Y M

use

um

TALK ABOUT IT!These talking machines are going to r in the

artistic development of m sic in this co ntry.... We will not have a vocal chord left. The

vocal chord will be eliminated by a process of evol tion, as was the tail of man when he

came from the ape.” -Band eader John Ph p So sa

What do you think made Sousa

make this prediction?

n what ways wo d yo r fe be d fferent

f t were not poss b e to record so nd?

What do yo thnk t meant for m s c once m s c ans co d do

a record ng over and over aga n or nt they got t r ght ?

ook nto the ves of homas Ed son Ch chester A. Be and Em e

Ber ner. Why were they so nterested n record ng so nd?

Revo t ons n recorded so nd have made t eas er for peop e to

obta n record ngs of the r favor te m s c. t has a so made t eas er for

peop e to copy the work of m s c ans and performers. Do yo thnk

the nterests of art sts and the r fans are ba anced?

Why s t mportant to nderstand how the ear works

n order to nderstand how so nd s recorded?

1

2

3

4

5

Revolutions of RECORDED SOUND (cont’d)

activity 6:

YOUR TURN: FOR FURTHER INVESTIGATION



III. THE MAGNETIC RECORDING ERA: 1948-present Magnet c record ng was frst

demonstrated n 1898. However, t was

too no sy unt mproved by German

sc ent sts dur ng Wor d War . Th s

German techno ogy was captured by

Amer can so d ers and brought home

after the War. The r d scover es nsp red

severa U.S. compan es to

deve op magnet c record ng

systems of the r own.

n magne c eco d ng, a m c ophone changes sound waves o an e ec c s gna .

h s s gna s hen p ocessed and sen o a eco d ng med um—mos o en, a eco d ng

ape h ough a magne c dev ce ca ed a head. As he s gna go ng h ough he head

changes, cha ges he ape, eav ng an ana og eco d o he o g na sound wave.

Magne c eco d ng comp e e y changed he eco d ng s ud o. ape was eas e o

use and ed han d scs. ape a so o e ed onge eco d ng mes. Now, a s s d dn

have o eco d eve y hng pe ec y he s me. ape a so made poss b e o eco d

acks one a a me and b end hem oge he a e . h s p ocess s ca ed mu - ack

eco d ng.

Ree - o- ee ape con nues o be used n magne c eco d ng s ud os, bu mos peop e

ound d cu o hand e. h s changed once was pu ns de ca dges and casse es.

apes we e easy o use, po ab e, and coud even be used o make cus om eco d ngs.

Peop e a so began o make eco dngs o songs o eco ds and pass hem a ong o ends.

HO

W IT

WO

RKS

D g ta record ng began n the 1970s. t was not

w despread unt the 1980s. Snce then t has rep aced

tap ng as the stud o standard. Th s s n part due to

decreas ng equpment costs and ncreased computer

power. D g ta

record ng has

put the too s of

stud o product on

nto the hands of

more art sts than

ever before.

n d g a eco d ng, a m c ophone changes

sound waves o an e ec c s gna . A compu e

hen akes samp es o h s s gna a a se

a e and u ns he samp ed n o ma on n o

a numbe o ma . h s p ocess s ca ed

d g z ng. hese numbe s a e hen eco ded

n a magne c ( ape o ha d d sc) o op ca

s o age med um. D g a eco d ng makes

eco d p oduc on eas e because makes

asks such as p ayback, ed ng, and s gna

p ocess ng s mp e .

IV. THE DIGITAL RECORDING ERA: 1972-presentH

OW

IT W

ORK

S

Will Burton (Gaelan Connell) reads and learns about music in BANDSLAM.


Cha

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ACTI

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6:RE

VOLU

TION

S OF

RE

CORD

ED S

OUND

log

on t

o w

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.wal

den.

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nal a

ctiv

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