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MUSC 2150 (116)
Chapter 10

Chapter 10 Summary

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Department
Music
Course
MUSC 2150
Professor
Shannon Carter
Semester
Winter

Description
Week 11Textbook pag402472CHAPTER 10 Mainstream Rock Punk and New wavePunk and newwave became two musical movements on the fringe of the rock world to overthrow the rock establishment and to challenge its commercial dominationThey positioned themselves against mainstream rock rejecting sophisticated hippie bands for the simplicity of prehippie rock Rock music had become a big business and rock musicians were increasingly designing music for popular appeal instead of musical expressionThe first half of the 70s was a time of emerging new styles that developed aspects of psychedelic music while the second half was consolidation of earlier stylesPunk first began in New York underground and later gathered steam in London then broke into UK and US mainstream as new wave Building the Business Frampton Comes AliveEarly 1970s FM stations broadcasted rock music and focused not on hit singles as AM radio did but rather on album cuts following the model established by Tom Donahue in San Francisco this format developed into album oriented rock or AORYoung people tuned into these stations thus a lot of money could be made from advertisementsAt the beginning of the 1907s FM stations were relatively free form with music choices made by DJsBy end of decade most stations heavily formatted with program directorsconsultants calling the shots and DJs having much less choice in music playedBy late 1970s rambling jam tracts and rock symphonies considered too long and not radio friendly songs 45 minutes long were ideal in length and bands that didnt conform to this didnt have their music playedWhen rock became more profitable middecade major corporations bought record labels and radio stationsRestrictions on what to play arose mostly to maximize advertising profitsThus many suspected the music played was designed for radio play and that this music had sold out to corporate concerns This music was labeled corporate rock By mid1970s it became clear that more money was to be made in rock music than imagined and a big factor in this realization was the emergence of the big albumBefore 1975 bands were happy to sell 300 000500 000 copies but early 1976 Peter Framptons live album Frampton Comes Alive Sold millions rather than thousandsSubstantial financial returns of Framptons success helped transform record business into possibility of investmentLarge multinational corporations with no previous musical experience were buying record labels in hopes of cashing in on the big albumConcert circuit changed as venues became larger and nationalinternational tours became norm for bands signed to major labelsMusicians began enjoying fruits of increased profits
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