Description
Book Synopsis Popular music has long been a subject of academic inquiry, with college courses taught on Elvis Presley, Bob Dylan, and the Beatles, along with more contemporary artists like Beyonce and Outkast. This collection of essays draws upon the knowledge and expertise of instructors from a variety of disciplines who have taught classes on popular music. Topics include: the analysis of music genres such as American folk, Latin American protest music, and Black music; exploring the musical catalog and socio-cultural relevance of specific artists; and discussing how popular music can be used to teach subjects such as history, identity, race, gender, and politics. Instructional strategies for educators are provided.
Trade ReviewThere are no overnight wonders in music stardom. Take it from me, it takes years of hard work and life's tribulations to make a lasting statement. I lived and made my mark during much of the time highlighted in this book. David Whitt and his crew of professors, hell bent on inculcating the deep connection between popular music and history, offer up a diverse menu of learning tools, from the origins of music and the role of the artist in society, to the geographical, cultural, and historical implications, and how to understand music through different techniques and strategies. Using popular music of all genres, they transport you to a destination where one will be able to experience the art of listening and learning. I highly recommend this resource to fans of music, historians and musicians as it gave me many different views of my era. So many of my mentors past and present are happy to know that this field of academia exists."—Jerry Jemmott, Multi Grammy Nominated and Awarded Session Bassist- King Curtis, Aretha Franklin, BB King
Table of Contents
- Table of Contents
- Acknowledgments—vi
- Introduction (David Whitt)—1
- Part 1: Popular Music History and Genres
Highway 61: Alan Lomax and the Mythology of the Road in American Folk Music (Raymond Blanton)—7
- "There is no revolution without songs": Teaching Latin
American Resistance Music in the Spanish Curriculum (Eunice Rojas)—23
- Teaching the Music of Sunshine and Noir California: From "California Dreamin'" to "Straight Outta Compton" (Shawn Schwaller)—38
- Remembering Tomorrow: Exploring the Deeper Transatlantic
Story of the Birth of the Psychedelic Sixties (Tom Zlabinger)—53
- Globalizing Jamaican Music: From Reggae to New Wave (William M. Knoblauch)—72
- Teaching Black Music as a Living Tradition: Pedagogically Connecting the Past to the Present (Justin Patch)—85
- Part 2: Artists and Icons
Good Rockin' in the Classroom: Teaching Elvis Presley and Popular Music (Jay Scott Chipman)—103
- Teaching the Beatles! (Jeff Mohr)—116
- People, Hell and Angels: The Sociocultural Contributions to the Rise and Demise of Jimi Hendrix (Ignatius Calabria)—129
- Songs of Ascent: Teaching the History, Music and Activism of U2 (David Whitt)—146
- Part 3: Popular Music Analysis and Other Instructional Tools
Musical Identities: Teaching Race, Class and Gender Through Popular Music (James L. Deys and Jacob A. Dickerson)—163
- Patriarchy, Cross-Dressing, Agency and Violence: Women and the Pedagogical Opportunities in Heavy Metal (Daniel Guberman)—178
- Music and Protest: Dissecting and Creating Social and Political Music (Michael W. McFarland)—194
- Can Bro-Country Kill Your Parents? Using Shifting Musical Taste to Explore the Relationship of Youth and Parent Cultures (Charles R. Warner)—207
- Game-Based Learning in the Popular Music Classroom (Brian Robison)—222
- About the Contributors—243
- Index—245
