Rock and Roll Its History and Stylistic Development

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  • Edition: 7th
  • Format: Paperback
  • Copyright: 2012-01-11
  • Publisher: Pearson
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Rock and Roll - Changing Society, Evolving History Rock and Roll: Its History and Stylistic Development, 7thedition introduces students to the various elements of music along with the history of rock music. Rock and roll is more than just a musical style, it is an influential social factor. This program gives a thorough historical and musical analysis of rock artists, styles, and events in a clear and accessible language. This new edition includes callouts in the text that links students to the new MySearchLab with eText website, as described in the features section. A better teaching and learning experience This program will provide a better teaching and learning experience- for you and your students. Here's how: Personalize Learning- The new MySearchLab with eText delivers proven results in helping students succeed, provides engaging experiences that personalize learning, and comes from a trusted partner with educational expertise and a deep commitment to helping students and instructors achieve their goals. Improve Active Listening - A "Take Note" section at the beginning of each chapter poses a series of key questions; each chapter concludes with a corresponding "Take Note" section that provides brief answers to the earlier questions. Each chapter also begins with a list of key terms. Engage Students- Each chapter includes a set of suggested listening activities to enhance the reader's understanding of the text. Support Instructors- A full Instructor's Manual and Testbank are available. Note:MySearchLab with eText does not come automatically packaged with this text. To purchase MySearchLab with eText, please visitwww.mysearchlab.comor you can purchase a ValuePack of the text +MySearchLab with eText (at no additional cost): ValuePack ISBN-10: 0205843921 / ValuePack ISBN-13: 9780205843923.

Author Biography

Dr. Joseph Stuessy holds the Ph.D. and Master of Arts degrees from the Eastman School of Music.  His undergraduate degree is from Southern Methodist University.  Dr. Stuessy served as Professor and Director of the School of Music at Texas State University (2003-2007) and as Professor and Director of the Division of Music at the University of Texas at San Antonio (1979-2003).


Dr. Stuessy’s Piano Concerto No. 1 was premiered by the Houston Symphony Orchestra and has been performed by the San Antonio Symphony and the Moscow State Orchestra.  His Piano Concerto No. 2 was premiered in 1996.  Both concertos have been recorded by the Moscow State Orchestra and are available on Aquarius compact discs.  Other works by Dr. Stuessy have been performed by the Dallas Symphony, the Eastman-Rochester Symphony, the Bolshoi Symphony (Moscow), Voices of Change, jazz trumpeter Clark Terry, and various other soloists and ensembles.  A complete concert of his compositions was presented in 1993 at the Composer’s Union in Moscow, Russia.  In 2005, he was named “Composer of the Year” by the National Federation of Music Clubs.


In 1985, Dr. Stuessy provided invited testimony to the U.S. Senate Commerce Committee on the topic of rock and roll lyrics.  He has taught a course on the history of rock music to over 10,000 students at three major universities (Southern Methodist U, Unviersity of Texas San Antonio, and Texas State University).


Dr. Scott Lipscomb received his Bachelor of Music Degree in Jazz Performance from the University of Tennessee at Knoxville where he studied with Jerry Coker. In addition, he holds an M.A. and a Ph.D. in Music (specialization: Systematic Musicology) from the University of California, Los Angeles. For six years, Dr. Lipscomb taught at the University of Texas at San Antonio (1995 to 2001) where he was actively involved with the Institute for Music Research.  He was Associate Professor of Music Education & Music Technology at the Northwestern University School of Music from 2001 to 2006. Currently an Associate Professor & Head of the Music Education & Music Therapy Division in the School of Music at the University of Minnesota, he teaches a variety of courses in music education, research design, music cognition, music technology, and rock history.


His primary areas of research interest include music integration in the K-12 classroom, integrating technology into the music classroom, developing innovative research techniques for studying musical behaviors, music applications for mobile devices, and experimental investigations to enhance our understanding of the role of music in multimedia (motion pictures, animation, and video games). In addition to authoring this textbook, he has made numerous presentations at regional, national, and international conferences, including those hosted by the Society for Music Perception & Cognition, the European Society for the Cognition of Music, the Society for Research in Music Education, the Minnesota Music Educators Association, the Association for Technology in Music Instruction, and the College Music Society. His research has been published in numerous peer-reviewed journals and edited volumes.

Table of Contents

In this Section:

1. Brief Table of Contents

2. Full Table of Contents



Chapter 1   Introduction

Chapter 2   The Roots of Rock

Chapter 3   The Emergence of Roll and Roll

Chapter 4   Rock and Roll: 1950s Style

Chapter 5   Transition: The Early 1960s

Chapter 6   The Beatles

Chapter 7   The British Invasion

Chapter 8    Folk Music and Folk Rock

Chapter 9    Soul and Motown

Chapter 10  San Francisco

Chapter 11  Jazz Rock

Chapter 12  Art Rock

Chapter 13  Mainstream Rock

Chapter 14  The Continuing Fragmentation of Rock

Chapter 15  Heavy Metal

Chapter 16  Dance Music

Chapter 17  Rap and Hip-Hop

Chapter 18  Alternative Styles

Chapter 19  An Overview and An Editorial




Chapter 1: Introduction

Why Study Rock?

Why This Book?

Before We Begin: A Liberal View of Rock History


Chapter 2: The Roots of Rock

Overview: The Early 1950s


Musical Close-Up: The Elements of Music

Country & Western

Musical Close-Up: Instrumentation in Rock and Roll

Rhythm and Blues

Musical Close-Up: The 12-Bar Blues


Chapter 3: The Emergence of Roll and Roll

Overview: Crossovers and Cover

Bill Haley and the Comets

Elvis Presley

Three Basic Trends Emerge

Musical Close-Up: Rhythm in Early Rock and Roll


Chapter 4: Rock and Roll: 1950s Style

Overview: Five Style Setters of the 1950s

Little Richard

Fats Domino

Chuck Berry

Jerry Lee Lewis

Buddy Holly

Others in the 1950s

The Industry

Musical Close-Up: Is Soft Rock Really Rock?


Chapter 5: Transition: The Early 1960s

Overview: The Fragmentation of the Market

The Beginnings of the Folk Music Trend

Surfing Music

The Dance Craze

Musical Close-Up: Musical Texture and the Beach Boys


Chapter 6: The Beatles

Overview: Revolution within a Revolution

The Early Beatles

The Middle Period: Experimentation

The Later Beatles: Revolution

Musical Close-Up: The Technical Side of the Beatles’ Music 


Chapter 7: The British Invasion

Overview: The British Are Coming!

The Rolling Stones

All the Others

Musical Close-Up: The Musical Style of the Rolling Stones


Chapter 8: Folk Music and Folk Rock

Overview: The Youth Generation of the 1960s

Bob Dylan

The Byrds

The Mamas and the Papas

Simon and Garfunkel

Other Folk Rockers

Musical Close-Up: The Song Style of Bob Dylan


Chapter 9: Soul and Motown

Overview: Soul Music: Its Definition and History

Atlantic and Stax

Aretha Franklin

James Brown


Diana Ross and the Supremes

Musical Close-Up: Melody and Soul Singer


Chapter 10: San Francisco

Overview: America Counters the British Invasion

The Jefferson Airplane

The Grateful Dead

Janis Joplin

Other San Francisco Groups

Musical Close-Up: The Art of Improvisation


Chapter 11: Jazz Rock

Overview: A Tale of Sibling Rivalry and Its Resolution

Blood, Sweat, and Tears


Other Jazz Rock Groups

Musical Close-Up: An Analysis of “Symphony for the Devil/Sympathy for the Devil” (Blood, Sweat, and Tears)


Chapter 12: Art Rock

Overview: Rock as a “Legitimate” Musical Vocabulary

Rock with Orchestra

Rock Operas and Theatrical Works

Nontheatrical Art Rock by Unaccompanied Rock Groups

Musical Close-Up: An Analysis of Karn Evil 9 by Emerson, Lake, and Palmer


Chapter 13: Mainstream Rock

Overview: The Decade of Nondirection

Mainstream Trends of the 1970s

Mainstream Rock in the 1980s

Mainstream Rock Beyond the 1980s

Musical Close-Up: A Look at Rock Lyrics


Chapter 14: The Continuing Fragmentation of Rock

Overview: Sub-styles of the 1960s Evolve into the 1970s and Beyond

Art Rock Evolves into Progressive Rock

Jazz Rock Evolves into Fusion

The Singer-Songwriters of the 1970s

Folk Influences in the 1980s and 1990s

Country Rock and Progressive Country

The Jam Band Phenomenon

Soft Rock of the 1970s

Soft Rock Continues to Evolve

Musical Close-Up: Country or Rock?


Chapter 15: Heavy Metal

Overview: “We’re Not Gonna Take It Anymore”

British Heavy Metal Evolves

American Heavy Metal

The 1980s: Heavy Metal Continues

Musical Close-Up: Meter in Heavy Metal and Metal-Influenced Alternative Rock


Chapter 16: Dance Music

Overview: The Selling of Rock—Changes in the 1980s and 1990s

The Return of Dance Music


Motown Keeps Dancing

Other Music for Dancing

Dancing Through the 1990s and Beyond

The Latin Invasion

Musical Close-Up: The Anatomy of Disco


Chapter 17: Rap and Hip-Hop

Overview: Technology, the Internet, and the Music Industry

Rap’s Beginnings

Rap Comes of Age

Other Rappers

New Jack Swing

Musical Close-Up: Expressive Musical Performance Delivery of Rap


Chapter 18: Alternative Styles

Overview: Boomers and Post-boomers

Alternative Rock: The Problem of Definitions

The Beginnings of Alternative Rock: The 1970s

Punk Movements: Back to Basics

Alternative Styles Evolve


Indie Rock

Punk III: Neo-Punk Propels Rock into the New Millennium

Prog Rock

Musical Close-up: Alternative Views of Alternative Rock


Chapter 19: An Overview and An Editorial

Overview: Eight Basic Statements


Where to Now?


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