Popular Music in America The Beat Goes On 5th Edition by Michael Campbell 8214350554 9798214350554

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ISBN 10: 8214350554 

ISBN 13: 9798214350554

Author: Michael Campbell 

Michael Campbell’s POPULAR MUSIC IN AMERICA, 5th Edition, follows the evolution of popular music from the mid-19th century to the present with discussions of connections, contrasts, and patterns of influence among artists, styles, and eras. A new, in-depth section on 21st century music connects you to the content through a modern lens. Units are clearly defined by style and timeframe, and chapters feature narrowly focused objectives to keep you on task. This edition also features a vibrant, richly illustrated, magazine-like design, plus numerous online resources.

Popular Music in America: The Beat Goes On 5th table of contents: 

Unit 1. Points of Entry
Chapter 1. Melody in Popular Music
The Riff, a Historical Perspective
Melody in Twenty-First-Century Popular Music
Chapter 2. Rhythm
Three Meanings of “Beat”
“Timekeeping” Beat
Beat and Measure
“Number” Beats
“Good”Beat
From Melody to Rhythm
“Beat” and Rhythm
Chapter 3. The Sounds of Popular Music
Sources of Instrumental Sounds in Popular Music
The Rhythm Section
Performance Style
The New Sound World of Twenty-First-Century Popular Music
Chapter 4. Behind the Scenes: Harmony, Texture, and Form
Harmony
Texture
Form
Verse/Chorus Form
Blues Form
Chapter 5. Musical Style in Popular Music
Style in Music
Musical Style and Style Labels
Style and Meaning
Style and History: Two Centuries of Popular Music
Melody, Rhythm, Sound
Looking Back, Looking Ahead
Unit 2. The Beginnings of American Popular Music
Chapter 6. Sources of Popular Music
African Influences
From Nigeria to Cuba: Santería
Folk Music from the British Isles
Anglo-American Folk Dance
Upper- and Middle-Class European Music
American Popular Music, from Sources to Syntheses
Chapter 7. The Parlor Song
Cultural Life in Early Nineteenth-Century America
Stephen Foster and the Parlor Song
Chapter 8. Minstrelsy
The Minstrel Show
Dan Emmett and Music for the Minstrel Show
Black Faces and Black Sounds
Routes to Popularity: Written and Oral Traditions
Social Acceptance and Synthesis
Minstrelsy and American Popular Music
The Popular Music Industry
Chapter 9. Popular Song at the Turn of the Twentieth Century
Tin Pan Alley
“After the Ball” and the Music Business
Waltz Songs
Stage Entertainment
George M. Cohan: Toward an American Musical Comedy
Chapter 10. The Concert Band
The Concert Band
Sousa and the Concert Band
Stars and Stripes Forever, a Famous March
Looking Back, Looking Ahead
Unit 3. The Emergence of Black Music
Chapter 11. Ragtime
Ragtime Emerges
Scott Joplin
The Sound of the Piano Rag
Ragtime Enters Popular Culture
The Legacy of Ragtime
The Classic Piano Rag
Ragtime and the Preservation of African-American Culture
Ragtime as a Catalyst for Change
Chapter 12. Syncopated Dance Music
Ragtime Dance
James Reese Europe and the Foxtrot
Syncopating the Mainstream
Chapter 13. Early Commercial Blues
The First Commercial Blues Styles
The First Professional Blues Musicians
Blues in Print: The First Published Blues Songs
Blues, Jazz, and Dance Music
Classic Blues
Bessie Smith
The Legacy of Blues Style
Chapter 14. Early Jazz
The Roots of Jazz
The New Orleans Jazz Band
King Oliver’s Creole Jazz Band
The Essence of Jazz: Swing and Improvisation
Swing
Improvisation
Louis Armstrong: Jazz as a Soloist’s Art
Jazz in America during the 1920s
Looking Back, Looking Ahead
Unit 4. Popular Song in the Modern Era
Chapter 15. The Early Modern Era: Music, Society, and Technology
Sex, Booze, and All That Jazz
People on the Move
Prohibition
The New Woman
The First Technological Revolution: From Radio to Talking Pictures
Radio Broadcasting
Electric Recording and Amplified Live Performance
Talking Films
The Modern Era in Popular Music
Chapter 16. The New Rhythms of Popular Song
The New Rhythms of Popular Song
Dance Fads of the 1920s
The Charleston
The Dance Orchestras of the 1920s
The Rhythm Section in the Dance Orchestra
The Saxophone: A New Sound of the 1920s
Rhythm Songs
Song and Dance
Chapter 17. The Integration of Popular Song
The Record and Recording
A New Kind of Popular Song
AABA Form
Jean Goldkette’s Orchestra
The New Sounds of Modern-Era Popular Song
Chapter 18. Mainstreaming the Blues
The 1920s, a Breakthrough for Black Musicians
Mainstreaming the Blues
Blues in Popular Song
Chapter 19. Popular Singing After 1930
Bing Crosby: Quintessential Crooner
Billie Holiday and Song Interpretation
Chapter 20. Popular Song on Stage and Screen
Musical Stage Entertainment in the 1920s
The Innovations of Show Boat
Jerome Kern and the Modern Popular Song
A New Kind of Musical Theater
The Acceptance of the Modern Popular Song
The Sophisticated Foxtrot Song
Song, Dance, and the Shift to Modern Social Values
Looking Back, Looking Ahead
Unit 5. The Swing Era
Chapter 21. Big-Band Swing
The Sound of Big-Band Swing
Swing Rhythm and the Rhythm Sections
Fletcher Henderson and the Roots of Big-Band Swing
Swing as Popular Music
Glenn Miller: Singing, Swing, and Popular Success
Swing and Sweet
Chapter 22. Jazz in the Swing Era
Small-Group Jazz in the Swing Era
Benny Goodman
Goodman, Music, and Race
Count Basie: Improvisation in Big-Band Swing
Duke Ellington, Painter in Sound
Looking Back, Looking Ahead
Unit 6. Blues and Black Gospel Come in from the Outskirts, 1925–1950
Chapter 23. Country Blues
The Roots of the Blues
The Blues and African Culture
The Life of a Bluesman: Blind Willie McTell
Blind Lemon Jefferson: “Old-Fashioned Blues”
The Sound of Country Blues in the Delta: Robert Johnson
Chapter 24. Good Time Blues
Hokum
Boogie-Woogie
Chapter 25. Black Gospel
Black Gospel Music
The Early Years of Gospel
Male Quartets
Female Gospel Soloists
Gospel Harmony
Looking Back, Looking Ahead
Unit 7. Country and Folk Music Come in from the Outskirts
Chapter 26. The Emergence of Country Music
The Emergence of Country Music
Ralph Peer and the Business of Country Music
Vernon Dalhart and Country Music’s First Big Hit
“The Prisoner’s Song”
Success versus Identity in Country Music
Chapter 27. Country Music’s Seminal Acts
The Carter Family
Jimmie Rodgers
Country Music: Tradition versus Innovation
Chapter 28. Putting the “Western” in Country Music
The Boundaries of Country Music
Horse Operas
Putting the Swing in Country Music
The Expansion of Country Music
Chapter 29. Folk Music in the 1930s and 1940s
Woody Guthrie and Contemporary Folk Music
“Do-Re-Mi”
Relocating Folk Music
Lead Belly, an Authentic Songster
From Folk to Pop
“Goodnight, Irene”
Chapter 30. Honky-Tonk
Country Music after 1945
Hank Williams
“Lovesick Blues”
Kitty Wells and the Heart of Country Music
Honky-Tonk and the Evolution of Country Music
Chapter 31. Bluegrass, a Neo-Traditional Style
Bill Monroe and the Birth of Bluegrass
Three Decades of Country and Folk Music
Unit 8. Latin Music in the United States, 1900s–1950s
Chapter 32. Latin Music in the United States, 1900s–1940s
Latin Music in the United States
The Assimilation of Latin Music
The Habanera and Tango
Mainstreaming Latin Music
The Rumba
Americanized Latin Music: Cugat, Porter, and the Latin Song
American versus Latin Rhythms
Chapter 33. Mambo: A Latin/American Fusion
The Mambo
Looking Back, Looking Ahead
Unit 9. Popular Music Matures: Musical Theater, Modern Jazz, and Song Interpretation
Chapter 34. The Golden Age of Musical Theater
Rodgers and Hammerstein and the Golden Age of Musical Theater
South Pacific
Beyond the Broadway Musical: West Side Story
Leonard Bernstein
West Side Story
“Cool” and the Innovations of West Side Story
Golden Age Musicals
Chapter 35. Modern Jazz
Bop: A Music of Liberation
Charlie Parker and “Salt Peanuts”
Jazz as Art
The Modern Jazz Quartet: Jazz as Concert Music
Modern Jazz = Jazz
Chapter 36. Popular Song Interpretation
Song Interpretation
Nat Cole
Frank Sinatra
Looking Back, Looking Ahead
Unit 10. Rhythm and Blues, 1946–1954
Chapter 37. The Emergence of Rhythm and Blues
Black Social and Economic Issues in the 1950s
Jump Bands
“Choo Choo Ch’Boogie”
Big-Beat Rhythm and Blues
Active Rhythms in Postwar Rhythm and Blues
The Sound of 1950s Rhythmic Rhythm and Blues
Chapter 38. Electric Blues
Muddy Waters
The Sound of Electric Blues
“(I’m Your) Hoochie Coochie Man”
Chapter 39. Early Doo-Wop
The Sound of Upbeat Doo-Wop
Doo-Wop: Voices as Instruments
Cover Versions and Commercial Success
Looking Back, Looking Ahead
Unit 11. Rock and Roll
Chapter 40. Rock and Roll Begins
Teens in the 1950s
The Beginnings of Rock and Roll
Bill Haley’s “Rock Around the Clock”
The First Rock and Roll Record?
Chapter 41. Elvis Presley
Elvis Presley: The First Rock-and-Roll Star
Elvis at Sun
Rockabilly
Elvis in Hollywood
The King of Rock and Roll?
Chapter 42. The Architects of Rock and Roll
Little Richard
“Lucille” and a New Orleans Conception of Rock and Roll
Little Richard and Rock and Roll as Outrageous Music
Chuck Berry
Chuck Berry Merges the Roots of Rock and Roll
The Evolution of Rock and Roll
Chapter 43. Buddy Holly and the Viral Evolution of Rock and Roll
The Viral Evolution of Rock and Roll
Buddy Holly
Beyond the Dance Floor in Holly’s “Not Fade Away”
The Day the Music Died
Chapter 44. Doo-Wop in the Late 1950s
Gospel’s Influence on Rhythm and Blues
Slow Doo-Wop
The Producer in the Early Rock Era
Leiber and Stoller
The Coasters
Doo-Wop and Black Pop
Chapter 45. R&B Solo Singing in the Late 1950s
Solo Singers
Ray Charles
“What’d I Say”

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Tags: Popular Music, America, The Beat Goes, Michael Campbell