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MUAR 392 Lecture Notes May 22.docx

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Department
Music-Arts Faculty
Course
MUAR 392
Professor
Melvin Backstrom
Semester
Summer

Description
MUAR 392 Lecture Notes May 22 Black Sabbath  From Birmingham, England, a mostly industrial city  First known as Earth and very blues based, but adopt “satanic” dark image along with new name. Why?  Extensive use of power chord riffs and triton known as “devil‟s interval”  Listen to “Paranoid” (1970) o Heavy bass, guitar, and drums o Aggressive covals o The rhythm is almost mechanical, very not funky o Not syncopated o Rhythmically straight  See “Black Sabbath” from Black Sabbath from Black Sabbath  How does Kelleher reading present group? Alice Cooper “School’s Out” (1972)  Early 1970s American hard rock/heavy metal. Why isn‟t glam rock? Heavy Metal in the 1980s  Moves into mainstream of American popular music  Lyrical subjects move away from the arcane and occult towards greater realism, but of two very different kinds: love, sex, partying for glam/hair metal, war, death, social injustice for thrash metal  This divide was reflected musically, lyrically and sartorially  “Victim of Changes” (1976) by Judas Priest  “Master of Puppets” (1986) by Metallica  “Livin’ On a Prayer” (1986) by Bon Jovi  How do they differ?  What (if anything) is similar?  Looking forward, how might anti-disco/R&B backlash among metal constituency (predominantly white, heterosexual males) inform music?  1988 Monsters of Rock tour of the USA featuring Van Halen, Metallica, Scorpians, Dokken and Kingdom Come falls well short of commercial goals because of split within metal genre: fans of Metallica hated the other groups, fans of other groups hated Metallica  Result: “Waves of partisan arrivals and departures at the concert helped defuse the excitement normally generated in full arenas, and the fans‟ selective attendance undercut the concession and souvenir sales that are so important to underwriting tour expenses and profits.” o Running With the Devil: Power, Gender and Madness in Heavy Metal Music by Robert Walser (page 5)  What had once been relatively unified genre with differences overwhelmingly acceptable to a single “heavy metal” audience had become irredeemably fragmented  How does Gehr reading (page 376-81) differentiate Metallica from other metal groups in the late 80s? What are such differences deemed important? Chapter 71 Judas Pries “Victim of Changes” (1976)  What does this performance tell us about heavy metal in late 1970s early 80s?  How does sexuality, ethnicity, gender play in this music performance?  What according to the reading explains critics distaste for music?  Does understanding of music and performance change after lead singer Rob Halford announced in 198 that he was gay? If so, how? Metal in the 1980s  Split into (at least) two kinds of Metal o Glam/Hair Metal  Bon Jovi “Livin on a Prayer” (1986) o Thrash Metal  Metallica “Master of Puppets” (1986)  Both groups successfully part of 1985‟s Monsters of Rock UK tour  But by 1988 such a grouping no longer works Disco  Beginning of importance of nightclub DJ, mixing records together for continuous music  Where did disco begin? Among what community/sub-culture?  Importance of 1969 Stonewall uprising, fight for homosexual rights  12 inch, extended “mixes” become key medium to allow longer dance tracks, then mixed together by DJ for unending musical flow  Revival of debate over “Canned” Vs. “Live” music (live musicians feel threatened as dancing to recorded music becomes increasingly acceptable.  Ca
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