Madisonville Community CollegeMUS 222: Introduction to Music

Syllabus – Fall 2009

INSTRUCTOR: Name: Dr. Sara AdamsOffice: 121 Learning Resource Center, North CampusOffice hours: Mondays/Wednesdays: 9:30 a.m.-10:30 a.m. OR by appointment

Tuesdays/Thursdays: 11:00 a.m.-12:00 p.m. OR by appointmentPhone: 824-8617Email address: sara.adams@kctcs.edu

COURSE INFORMATION:Catalog #: MUS 222Section #: 7501Class #: 36226Credit hours: 3Meeting time: MW 2:30-3:45 p.m.Meeting place: Room 105, Learning Resource Center

COURSE DESCRIPTION:Music 222 – A listening survey course, with a chronological approach, covering the years 1950-

present. Emphasis will be on both the music and the sociological climate reflected and advocated by the music. Prerequisites: None

***PLEASE SILENCE AND PUT AWAY ALL CELL PHONES AND OTHER ELECTRONIC DEVICES BEFORE CLASS ***

COURSE OBJECTIVES: To introduce students to the Elements of Music and discuss how they are applied in rock

music. To introduce students to a working musical vocabulary to facilitate communication of

and about rock music and its relation to a variety of sociological issues. To teach students how to LISTEN to and THINK about rock music rather than just

hearing it. To introduce students to the representative works from the literature of rock music, from

early blues to the present. To introduce students to a style-classification framework within which rock music may

be referenced, more readily assimilated, and ideologically linked with sociological trends.

TOPICAL OUTLINE: Introduction: Studying Rock The 1920s, ‘30s, ‘40s The 1950s The 1960s The 1970s The 1980s The 1990s and Beyond

REQUIRED TEXTS AND SUPPLIES: Covach, John. What’s That Sound?: An Introduction to Rock and Its History. 2nd ed.

New York: W.W. Norton, 2009. Small stapler Access to Blackboard: http://elearning.kctcs.edu/webapps/portal/frameset.jsp Access to Textbook Website: http://www.wwnorton.com/college/music/rockhistory2/

GENERAL EDUCATION COMPETENCIES:This course fulfills the following competencies as described:

I. Communicate Effectively1. Read and listen with comprehension.2. Speak and write clearly using standard English.3. Interact cooperatively with others using both verbal and non-verbal means.4. Demonstrate information processing through basic computer skills.

Students are expected to demonstrate this competency in both reading and writing assignments in and outside of class. The completion of homework reading and writing assignments before each scheduled class meeting is required. Writing assignments, with reference to Senate Rules, Section V, 2.3.3, will be graded according to their content, spelling, grammar, and format. Students are also expected to complete assignments using the basic knowledge of a word-processing computer program, research current music topics on the Internet, and submit their papers to Blackboard SafeAssign.

II. Think Critically1. Make connections in learning across the disciplines and draw logical conclusions. 2. Demonstrate problem solving through interpreting, analyzing, summarizing, and/or

integrating a variety of materials.

Students are expected to apply concepts, ideas, and theories introduced in this course to other subjects, such as, but not limited to, history, sociology, art, and literature. Learning to listen to music critically will lead students to better interpret, analyze, summarize, and classify different types of music into an appropriate style framework. Class discussion, listening exercises, writing and reading assignments, and creative comparative thinking will be encouraged. Exams will focus on thinking skills and synthesis of information rather than mere memorization of material.

III. Learn Independently 1. Use appropriate search strategies and resources to find, evaluate, and use information.2. Make choices based upon awareness of ethics and differing perspectives/ideas. 3. Apply learning in academic, personal, and public situations.4. Think creatively to develop new ideas, processes, or products.

In music, much is subjective. However, students need to be able to defend their choices and ideas based on the information they possess. Students will demonstrate their ability to research, evaluate, and use information to prepare and present well-organized written assignments, which should also motivate students to assemble their own ideas and arguments. Students are also encouraged to apply information and ideas in this course to current events and experiences outside the classroom.

IV. Examine Relationships in Diverse and Complex Environments1. Recognize the relationship of the individual to human heritage and culture.2. Develop an awareness of self as an individual member of a multicultural global

community.

It is essential for students to consider the historical, sociological, cultural, and artistic environment and/or context of all music (past, present, and future) discussed in this course. Attending concerts of various types of music will expand students’ awareness of music’s diverse audience and community.

COURSE REQUIREMENTS: Students should be prepared for active participation in class. This includes

completing all reading, listening, and/or writing assignments before each class meeting.

Students will complete one short writing assignments and one 5-to-7 page research paper.

Students will complete four unit exams and one final exam. Students will attend at least ONE concert at the Glema Mahr Center for the Arts. Students will need access to a computer either at home or in the various computer labs at

MCC to write/print papers and keep up to date on current music topics. Students and the instructor will demonstrate respect for one another at all times. If changes need to be made in the course syllabus, they will be made in advance during

class. It is the student’s responsibility to make a record of changes in the

schedule.

EVALUATION: 20% - Attendance; Active and prepared participation in class, including in-class and homework assignments, concert attendance, and quizzes (announced and unannounced) on assigned readings.

10% - Concert Report 40% - Unit Exams15% - Research Paper15% - Final Exam

GRADING SCALE: A 90-100B 80-89C 70-79D 60-69E below 60

ATTENDANCE POLICY: Attendance will be taken daily. Regular and prompt attendance is a necessary part of

satisfactory college work and is expected from every student. A student who misses a class for any reason is responsible for the work done in that class

and the work due at the next class period. A student who misses a class should contact a classmate or the instructor IMMEDIATELY to find out what he/she has missed and what is required for the next class.

Attendance is worth 150 points of your participation grade. Each student will be allowed three absences for any reason. After the third absence, 10

points will be deducted for each additional absence.

EXTRA CREDIT: Students may occasionally earn extra credit for completing extra outside research or for attending

special events or workshops at the College. The credit will be added to the attendance and

participation grade.

LATE WORK POLICY: All assignments are due at the beginning of class and will be considered late if not finished by

that time. For each day an assignment is late, 10% will be deducted from your assignment grade. For

example, a homework assignment is 10 points. If it is a class day late, you will receive 9 points.

MAKE-UP EXAMS: Exams missed due to an absence will not be made up. Please contact the instructor IMMEDIATELY, if you know in advance that you will be out of

town on an exam date or if you miss an exam due to an emergency.

WITHDRAWAL POLICY: The last day to drop a course without a grade is Fri., August 21. Up to the midterm date of the course (Mon., October 19), students, at their discretion, may withdraw from a course and receive a grade of W by turning in a withdrawal slip at the

Admission Office. After this date, however, students must have their instructor’s signature on the slip to withdraw.

If students are academically responsible, they will be allowed to withdraw from this course up to the last class day of the semester (Fri., December 4) and receive a grade of W. However, if a student is academically irresponsible (i.e., does not submit assignments, is too frequently absent, is getting a “bad grade,” or simply disappears), the instructor will not give permission to withdraw from the course.

ACADEMIC HONESTY:All work a student submits for this course must be entirely his/her own. There is no circumstance, including ignorance, under which academic dishonesty, including plagiarism or cheating, will be tolerated. This course adheres to the KCTCS Student Code of Conduct from which the following sections are taken (http://www.kctcs.edu/student/code.htm).

2.3.1.1.Plagiarism: Plagiarism is the act of presenting ideas, words, or organization of a source, published or not, as if they were one’s own. All quoted material must be in quotation marks, and all paraphrases, quotations, significant ideas, and organization must be acknowledged by some form of documentation acceptable to the instructor for the course. (This includes parenthetical or footnote citation within the document as well as a Works Cited or Bibliography page.)

Plagiarism also includes the practice of employing or allowing another person to alter or revise the work that a student submits as the student’s own. Students may discuss assignments among themselves or with an instructor or tutor, but when the actual material is completed, it must be done by the student and the student alone. The use of the term “material” refers to work in any form including written, oral, and electronic.

All academic work, written or otherwise, submitted by a student to an instructor or other academic supervisor, is expected to be the result of the student’s own thought, research, or self-expression. In any case in which a student feels unsure about a question of plagiarism involving the student’s work, the student must consult the instructor before submitting the work.

2.3.1.2. Cheating: Cheating includes buying, stealing, or otherwise obtaining unauthorized copies of examinations or assignments for the purpose of improving one’s academic standing. During examinations or in-class work, cheating includes having unauthorized information and/or referring to unauthorized notes or other written or electronic information. In addition, copying from others, either during examinations or in the preparation of homework assignments, is a form of cheating.

2.3.2.1 Faculty Academic Sanctions (pertaining to sections 2.3.1.1 to 2.3.1.3)For instances of academic dishonesty related to earning grades (violations 2.3.1.1 – 2.3.1.3), the

instructor may implement any of three sanctions:A. a failing grade for the specific assignment; and/orB. a reduced grade for the course; and/orC. a failing grade for the course.

The specific sanction depends upon the weight of the assignment in satisfying the requirements for the course. If an instructor chooses the sanction which assigns a failing grade for the course, the instructor shall notify the division chair, the chief executive officer or designee, and the registrar. For more information about the role of college personnel in the process, refer to section 2.5.2.

2.3.2.2 Other Academic Sanctions (pertaining to sections 2.3.1.4 and 2.3.2.1)The instructor may also recommend that the student be suspended for any academic offenses (as

defined in sections 2.3.1.1, 2.3.1.2, or 2.3.1.3). Any student found guilty of a second academic violation shall be expelled from the college and shall not be allowed to enroll at any of the other KCTCS colleges for one academic year.

ADA REQUIREMENT:If you have a documented disability and need any type of accommodation, you are required to register with the Disability Resource Coordinator. Contact Valerie Wolfe, Disability Resource Coordinator, Room 139 JHG, 270-824-1708.

MUS 222 - TENTATIVE CLASS SCHEDULE

WEEK 1M 8/17 Introduction to MUS 222 and Syllabus

W 8/19 READING for CLASS on 8/19: Introduction, pp. 2-13

WEEK 2M 8/24 Introduction continued

W 8/26 The 1920s, ‘30s, ‘40s: Ch. 1, Pt. 1, pp. 14-36

WEEK 3M 8/31 Ch. 1, Pt. 2, pp. 36-44

W 9/2 Ch. 1, Pt. 3, pp. 44-57

WEEK 4M 9/7 LABOR DAY – NO CLASS

W 9/9 EXAM I: Introduction and The 1920s, ‘30s, and ‘40s

WEEK 5M 9/14 Research Paper Topic Due

The 1950s: Ch. 2, Pt. 1, pp. 58-81

W 9/16 Ch. 2, Pt. 2, pp. 81-97

WEEK 6M 9/21 Interlude 1, pp. 98-107; Ch. 3, Pt. 1, pp. 108-135

W 9/23 Ch. 3, Pt. 2, pp. 135-151

WEEK 7M 9/28 EXAM II: The 1950s

W 9/30 The 1960s: Ch. 4, Pt. 1, pp. 152-172

WEEK 8 M 10/5 Ch. 4, Pt. 2, pp. 172-189

W 10/7 Research Paper Bibliography DueCh. 5, pp. 190-221

WEEK 9M 10/12 NO CLASS – FALL BREAK

W 10/14 NO CLASS – FALL BREAK

WEEK 10M 10/19 Interlude 2, pp. 222-229; Ch. 6, Pt. 1, pp. 230-243

W 10/21 Ch. 6, Pt. 2, pp. 243-259

WEEK 11M 10/26 Ch. 7, Pt. 1, pp. 260-281

W 10/28 Research Paper Outline DueCh. 7, Pt. 2, pp. 281-303

WEEK 12M 11/2 EXAM III: The 1960s

W 11/4 The 1970s: Ch. 8, Pt. 1, pp. 304-338

WEEK 13M 11/9 Ch. 8, Pt. 2, pp. 338-357

W 11/11 Interlude 3, pp. 358-367; Ch. 9, Pt. 1, pp. 368-389

WEEK 14M 11/16 Research Paper Rough Draft Due

Ch. 9, Pt. 2, 389-401

W 11/18 Ch. 10, pp. 402-443

WEEK 15M 11/23 EXAM IV: The 1970s

W 11/25 The 1980s: Ch. 11, pp. 444-485

WEEK 16M 11/30 Ch. 12, pp. 486-517

W 12/2 Research Paper Final Draft DueCh. 13, pp. 518-566

WEEK 17M 12/7 FINAL EXAM: Chapters 1-13

MUS 222 – CONCERT REPORT

You are required to attend ONE CONCERT this semester and submit a CONCERT REPORT for

each, summarizing the event and describing your observations.

The report must be turned in within TWO CLASS PERIODS following the performance. (For example, if you attend the concert on Friday, September 11, the Concert Report will be due no later than Wednesday, September 16.)

TEN PERCENT (3 points) will be deducted from Concert Reports for each weekday past the due date.

Concert Report Guidelines:

a. Attend a concert or musical performance. Concerts at the Glema Mahr Center for the Arts are highly suggested, but events at other venues may be approved.

b. Bring along a notebook and pencil to the concert for note taking.

c. Take notes during the concert that describe the hall in which the music is performed, the audience, specific musical pieces performed in the beginning, middle, and end of the concert, and your reaction to specific pieces and the concert experience as a whole. Write an essay that incorporates all the notes that were taken. See the following page for additional guidelines.

d. In each report, try to incorporate terminology and concepts discussed in class.

e. Don’t forget that you can often gather information about the pieces being performed by reading the concert program, but make sure that the Concert Report records your own observations .

f. When submitting your report, please attach the concert program and/or ticket stub.

FORMAT: Each Concert Report should:a. be at least two full pages

b. be typed (no larger than 12-point font), double-spaced and STAPLED.

c. include the following information at the top of the first page: Student’s name, Concert Name, and date you are submitting the report.

d. be your own work. This paper should include your personal observations regarding the concert and the music.

GRADING: Each paper is worth 30 points broken down into the following categories: a. 15 points for content/correct use of course conceptsb. 5 points for correct formatc. 5 points for correct spellingd. 5 points for correct grammar

WHAT SHOULD I WRITE ABOUT IN MY CONCERT REPORT?

1. Listening at the Sensual Level: Describe the quality or characteristics of the sounds that you hear:

A. If a solo singer is performing, is the tone of the voice dark or bright, loud or soft, harsh or mellow, easy or strained? Are the words easily understood (in songs sung in English)?

B. If an instrumentalist is performing, describe basic tone characteristics of that instrument. You can use the same adjectives that you used to describe voice tones. In the case of a small group or a large ensemble, is the sound balanced and do the sounds of the various instruments blend well?

2. Listening at the Emotional Level: Describe the effect of mood created by a specific piece that particularly interests you. If it is programmatic, do you feel that the program is accurately portrayed? If it is not programmatic, does it create one specific mood or several moods?

3. Listening at the Intellectual Level:A. Melody: Is there a particular melody (or melodies) which stand out in your memory?

If so, discuss them in terms of range, length, contour, or proportion.B. Harmony: Are chord changes fast or slow? Are there definite cadence points? Is

there any harmony? C. Texture: Determine whether the piece you are hearing has a monophonic,

homophonic, or polyphonic texture.D. Rhythm: Is rhythm a predominant element of organization and structure in the piece?

Is there a clear beat? How are the beats grouped (i.e., what is the meter?)?E. Dynamics: How does the composer organize his use of dynamics in the piece? Is

there extreme contrast between loud and soft, or is the entire piece performed at one dynamic level? Are the dynamics terraced or do gradual increases and decreases in volume occur?

F. Timbre (Tone Color): Describe the different sound qualities the composer has called for. Is there a variety of tone color? Contrast? What instruments and/or voices are being showcased?

4. Stage Presence of the Performer:A. Does the performer(s):

I. Look comfortable on stage?II. Have any distracting habits?III. Involve you in the performance?IV. Seem to communicate the composer’s musical message to the audience?

5. Your Subjective Reaction:A. What was your favorite and least favorite piece on the program, and why do you

think you felt this way?B. What was your overall reaction to the program? Would you choose to attend another

performance of this type? Why or why not?C. What types of people attended this event?D. What was the general audience response to the performance? Was it different from

your response, or the same?

MUS 222 - Writing Tips

Before writing your papers, please reread the “Concert Report” and “Research Paper” pages in the syllabus for specific directions regarding the different assignments.

Remember that there is a writing lab at MCC whenever you need any guidance, or see the instructor before or after class.

Content and Terms1. Try to incorporate terms and concepts discussed in class. 2. Eighty percent or more of the paper should discuss music. 3. Do not use the word “song” for discussing every type of music. A “song” has words. Music

without words can be called an instrumental “piece,” “work,” “movement” (if part of a larger genre), or just “music” (with a description following your use of the term).

4. When you introduce your own ideas in papers, make sure you follow it with a specific example to support your ideas. The reader may need an explanation to understand your idea.

Format1. Remember to include your name, MUS 222, and date on the first page of your papers. 2. Staple all pages, including the concert program for the concert report. 3. Each assignment should be at least two pages, typed (no larger than 12-point font) and

double-spaced. Do not put extra spaces between paragraphs.4. However if you use a quote, paraphrase, summary, or idea from a separate

source, you MUST provide a citation (parenthetical or footnote) in the body of the paper andon a bibliography page. This information should include the author’s name (last name, first name), title of source, city of publication: publisher, date. OR if you are citing the program notes, include the performers’ names, name of venue, date of concert, program notes. Ifyou have any questions, please ask.

Spelling1. Proofread. Proofread. Proofread.2. Use your spell checker on the computer. (However, you should always read through the

paper because some words sound the same, but are spelled differently, such as “from” and “form.”)

3. Let someone else read the paper and look for mistakes.

Grammar1. Make sure every sentence is complete with a subject and a verb. Watch out for run-on

sentences and comma splices.2. Check for awkward sentence construction. If it sounds awkward to you when you read

it, it will probably be awkward for the reader who is grading your paper. 3. Practice formal writing. Write out contractions (ex: write “do not” rather than “don’t”). 4. Write out numbers that are smaller than 100 (ex: ninety-nine, eighteenth century).5. Try not to begin sentences with “And,” “But,” and “Because.”6. Keep verb tenses consistent throughout your paper. 7. Read your papers out loud.

IMPORTANT NOTE ABOUT WORD PROCESSING:Do not skip class to type or print your paper. Do not assume that you can type your paper at home and then print it on campus. Also, do not assume you will be able to email your paper to me. Unless your at-home computer uses the same word processing program as the campus computers, you will have difficulty printing on campus. Therefore, either type your papers on campus, or make arrangements to print your paper well before it is due.

MUS 222 - Concert Requirements and Opportunities

You are REQUIRED to attend ONE CONCERT this semester, but are encouraged to attend as many as possible.

For the ONE REQUIRED concert you attend, you will write a two-page Concert Report. To receive full concert-attendance credit for this concert, turn in your ticket stub and/or

program with your Concert Report. Refer to Pages 7-8 of this syllabus for information regarding the Concert Report.

5 extra-credit points will be given for each additional concert (after the required 1) attended at the Glema Mahr Center for the Arts or other approved venue. A ticket stub and/or concert program, as well as a short written summary of your concert experience , MUST be submitted in order to receive the extra-credit points.

Pick up your FREE or discounted tickets ASAP at the Ticket Office located in the lobby of the Glema Mahr Center for the Arts. Retha Tarter will have a class roster and will mark off your name and concert when you pick up your tickets. Tickets for your guests may be purchased at that time as well.

When you approach the ticket office, make sure you first tell Retha that you are in MUS 222. Ticket Office Hours are 9:00-4:00 Monday - Friday. Phone #: 270-821-2787. Email: retha.tarter@kctcs.edu

For all concerts at the Fine Arts Center, ALL MCC students can receive a 25% discount anytime off the regular single ticket price. On the last business day before an event, ALL MCC students may receive a 50% discount off the regular single ticket price. When you approach the ticket office, make sure you tell Retha that you are an MCC student before making a transaction.

If you cannot attend the concerts at the Glema Mahr center, you may attend concerts at other venues and/or communities, but please inform the instructor of your choice BEFORE the concert date.

If you foresee a problem with the concert requirement, please see Dr. Adams ASAP so that other options can be considered.

GLEMA MAHR CENTER FOR THE ARTS2009-10 Season: “Listen to the Music!”

An Evening of Up & Coming Country with Katie Armiger & special guest Mudd River Union Friday, September 11, 2009 7:30pm

Tickets: $20/15 / HALF PRICE FOR MUSIC STUDENTSNewcomer Katie Armiger's powerful vocals and skillful songwriting are clearly showcased on her debut self-titled album. At the ripe age of 17, Katie does not hold back and has an inspiring combination of determination and passion that shines through in her music. Her voice is beyond her years; strong, skilled and dramatic, while her writing is mature, yet sincere and optimistic. Mudd River Union, based out of Muhlenberg County, will open the concert. Sponsor: 5/3 Bank with additional support from the Miner Family Arts Endowment

Riffs & Runs Piano Explorations with Harry Pickens and Jeffrey Jamner Thursday, September 17, 2009 7:30pm Glema Mahr Chamber Music Series

Tickets: $18 general admission seating / FREE FOR MUSIC STUDENTSJoin us for an intimate evening of music with jazz pianist/composer Harry Pickens and classical pianist Jeffrey Jamner, as they explore improvisation, creativity, and the composer’s art.

Ronny Cox – singer/songwriter Friday, October 2, 2009 7:30pm First United Bank & Trust Coffeehouse Series

Tickets: $18 general admission seating / FREE FOR MUSIC STUDENTSRonny Cox is well-known for roles in countless movies and TV series, i.e. Stargate SG-1, RoboCop, and Deliverance (including the legendary "Dueling Banjos" scene). He is also a first-rate songwriter/entertainer who is insightful, hilarious, and engaging. Whether it is in his acting or his music, Ronny is a storyteller, "and I have been most of my life... and I've never felt the truth should get in the way of a good story. I'm interested in weaving a tapestry of songs and stories with an over-all arc that eventually comes together and tells us something about 'the human condition'. I know that sounds kinda pompous... but that's what I'm trying to do..... and to have a few laughs along the way."

An Evening with the Doobie Brothers Thursday, October 22, 2009 7:30pm

Tickets: $65/60 / 25% discount for all faculty, staff, and studentsWith songs ranging in style from the bluesy rock of Long Train Runnin’ to the country tinged Black Water to the gospel/jazz rooted Takin’ It To The Streets, and songs that truly defy classification, the Doobie Brothers are a rock icon. Come, join us as we Listen to the Music! - Sponsor: Old National Bank

Brad Richter & Viktor Uzur guitar & cello Thursday, October 29, 2009 7:30pm Glema Mahr Chamber Music Series

Tickets: $18 general admission seating / FREE FOR MUSIC STUDENTS “Here is serious musicianship that doesn’t take itself too seriously – an illusive combination, but skillfully

realized . . . Bravo, and bravo again!” - FANFARE MAGAZINE

Recently featured on NPR’s Performance Today, these two highly skilled artists, classically trained and street-savvy, have pooled their love for music of all genres to satisfy every musical whim while simultaneously leaving an audience to marvel at their individual virtuosic prowess. These guys are the real deal . . . each a soloist capable of holding their own on a symphony orchestra stage or matching licks with a road house band. From Led Zeppelin to Bartok . . . from the Beatles to Rimsky-Korsakov . . . from Gershwin to their own ground-breaking compositions . . . the music sashays all over the planet and back again, satisfying audiences all the while.

Beegie Adair Trio - jazz Friday, November 6, 2009 7:30pmFirst United Bank & Trust Coffeehouse Series

Tickets: $18 general admission seating / FREE FOR MUSIC STUDENTSOnce in a while a musician comes along with impeccable technique, deep understanding of the jazz repertoire, an innate tendency to swing and the rare ability to communicate the heart and soul of a tune to listeners. That musician is Beegie Adair. (say B-G) About her music Adair says, "Falling in love with jazz is like falling in love with a person, except with jazz you never get over it." A sought-after studio musician in her early days, Adair accompanied such legendary performers as Chet Atkins, Dolly Parton and Johnny Cash and also worked with Lucille Ball, Dinah Shore, Mama Cass Elliott and Peggy Lee.

A Community Christmas / MCC Singers & Boston BrassFriday, December 4, 2009 7:30pm

Tickets: $20/15 / FREE FOR MUSIC STUDENTSThe MCC Singers, under the direction of Dr. Sara Adams, team up with one of the world’s finest brass ensembles for their annual Christmas celebration. Boston Brass is setting new standards in entertainment. From exciting classical arrangements, to breathtaking vocal harmony, to burning jazz standards, Boston Brass achieves new levels in brass performance while treating audiences with a unique musical experience that captivates all ages. The ensemble's lively repartee, touched with humor and personality, bridges the vast ocean of classical formality to delight audiences to an evening of boisterous fun, exciting knowledge and an enthusiastic love of music, deftly exhibited by five brash brass players.

MUS 222 -- RESEARCH PAPER GUIDELINES

SubjectYou may choose to write about anything related to rock music and culture: a performer or group; a concert or concert tour; a song or an album; a fan club or following: recording techniques or recording companies; an instrument or instruments; MIDI and/or sound modification devices;

sound equipment; specific rock cultures (e.g. grunge or hip-hop), etc…

SourcesThere are a few dictionaries and encyclopedias on contemporary music in the reference section of the library. They also have Rolling Stone and electronic access to a number of other periodicals. If you have trouble finding material, change your topic. Do not forget to document your sources with footnotes, endnotes, or parenthetical citation and bibliography. The Internet is a source of information but be careful!

FormatPlease be sure to type and double-space every draft of your paper including the first draft. The body of the paper should include: (1) opening paragraph outlining the subject and scope of the paper; (2) your research; and (3) a closing paragraph that summarizes or draws conclusions from your text. Include citations within the paper, as well as a bibliography. Please use complete sentences and paragraphs throughout. Spelling and grammar will be graded.

StylePlease write in a relatively formal writing style, but be sure and use your own words! Avoid the use of first person (“I/We”) and words with which you are unfamiliar. Write simply. Never leave it to the reader to make connections. Spell everything out. Finally… don’t plagiarize!!! If you unclear as to what that means, see the professor IMMEDIATELY!!!!!!

LengthThe body of the paper must be at least five (5) full pages and no longer than seven (7) pages.

Due Dates Paper Topic Monday, 9/14Bibliography Wednesday, 10/7Outline Wednesday, 10/28Rough Draft Monday, 11/16Final Paper Wednesday, 12/2*

* The Final Paper will not be accepted unless the topic, bibliography, outline, and rough draft have been turned in and approved by the instructor.

SAMPLE RESEARCH PAPER IDEAS

Argue... for or against one side of an issue related to Rock, e.g., censorship. . .

Attend... one or more concerts, compare and contrast them musically... sociologically.

Compare & contrast... two songs, albums, concerts, artists, styles, style periods, etc.

Create... or assemble the perfect rock band. Include relevant bios and support your choice.

Critique... a live or recorded performance or album. Be sure to support your ideas.

Discuss... at length one style of rock that you particularly like or dislike, give examples.

Invent... on paper, a new format for recorded music and video to replace existing ones.

Listen... to all of the music of a single artist or band and discuss how it has evolved, or not.

Play... devil’s advocate and advance an argument for or against a rock issue or style.

Propose... a theory that explains the [un]popularity of a particular rock style.

Research... the availability of rock audio/video freebies/commercial sites on the www.

Study... the historical effects of technology on rock performance and consumption.

A Biography of an Artist WILL NOT be accepted as a paper topic.