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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.
In this Section:
1. Brief Table of Contents
2. Full Table of Contents
1. BRIEF 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
2. FULL TABLE OF CONTENTS:
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
Pop
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
Motown
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
Chicago
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
Disco
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
Grunge
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
Editorial
Where to Now?
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