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10 January 2018
For popular music, the 20th century was a giant pendulum swing, from melody (at the
beginning of the century) to rhythm (at the end of the century).
For the first four decades, the pendulum swung steadily from melody to rhythm, mainly
through infusion of African musical features heard in ragtime, syncopated fox trot songs,
jazz, and big band swing.
Formation (1945-1955)
● This was the decade in which a new generation of music began to take shap well
outside the mainstream.
○ The increased use of active rhythms at several tempos and in almost all
styles.
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Fomentation (1955-1965)
● During this decade, rock and roll coalesced into a new sound different from rhythm
and blues, gained great notoriety, and increased its commercial presence, in part
because of the enthusiasm of white musicians for this music.
● The new music of blacks and whites continued to evolve through the decade,
becoming rock and new forms of black music.
○ The synthesis of rock rhythm: a new more active rhythmic template and its
gradual adoption and refinement through the course of the decade.
■ Buddy Holly and The Crickets “It’s SO Easy” (1958)
● The band plays a late 50s rock beat
■ The Beach Boys “I get around” (1964)
● Rock beat in this song is more vigorous, more solid and secure
○ The standardization of the rock band and the assignment of instrumental
roles
■ Conventional two guitars, electric bass, drums lineup
○ The transformation of black pop from an inventive take on existing popular
song to a pop style that was new in every way.
■ The Flamingos version of 1934 pop standard “I only have eyes for
you.”
■ The Supremes “Come See About Me” (1964)
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Fusion (1965-1975)
● This was the decade of the rock revolution. Rock matured into a music that
mattered, upended the music business as it gained both mind share and market
share, and forced established styles to rock or risk irrelevance.
○ Consolidation of the core rock style
■ Creedence Clearwater Revival “Proud Mary” (1969)
● Syncopated 8-beat rhythm with strong backbeat
○ Exploration of rock’s boundaries
■ The Beatles “A Day in the Life” (1967)
● Non rock elements are dominant
○ Formation of hybrid styles within rock and between rock and established
styles
■ Herbie Hancock “Chameleon” (1973)
● Hancock: pioneer in fusion of jazz and rock
○ Maturation and expansion of black pop
■ Marvin Gaye “Inner City Blues” (1971)
■ Stevie Wonder “Superstition” (1972)
● Two Motown alumni charting new paths, both a departure
from the Motown formula
○ Soul = blues + gospel + rhythm
■ Aretha Franklin “Respect” (1967)
● Blues feeling
● Gospel vocal style and call and response
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Fission (1975-1985)
● In this decade, rock experienced its own generation gap. Disco and punk introduced
new sounds and rhythms that were different from each other, and from the
now-established rock mainstream.
● It was the beginning of the rock-era’s second generation.
○ The explosion of punk and new wave as an underground reaction against
corporate rock.
■ Talking Heads “Psycho Killer” (1978)
● Sparse musical settings bring words to the foreground
● Unconventional approach to rock rhythm
● Matches understated rock band sound
○ The emergence of disco as a new dance music that mainstreamed new
rhythms and sounds.
■ Chic “Good Times” (1979)
● Disco helped mainstream 160beat rhythms
● And electronics instruments
○ Development of a new, surpassingly popular pop style
■ Michael Jackson “Billie Jean” (1982)
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Fragmentation (1985-1995)
● The diversity of rock-era music deepened dramatically toward the end of the
century because of the mainstreaming of new genres, the continuing
cross-pollination among styles, and growing generational split within rock. Both old
and new became increasingly prominent
○ The “classicization” of first-generation rock.
■ Nirvana “Smells Like Teen Spirit” (1991)
● New take on first-generation rock
■ Guns N’ Roses “Sweet Child O Mine” (1987)
● Another fresh approach to first-generation rock
● Classic rock radio emerged in late 1980s
● Both tracks eventually appeared on classic rock playlists
○ The further fragmentation of rock
■ R.E.M “Losing My Religion” (1991)
● Rich, gentle setting anchored by conventional rock band
■ Nine Inch Nails “I Do Not Want This” (1994)
● Distinctive, repetitive rhythm replaces rock beat
● No guitars or bass, just quirky keyboard riff
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● The progression from melody to rhythm lasted almost the entire century. The
number beats--the rhythmic templates for four generations of popular
music--demarcated the major stages in the overall process.
● The rock era took shape during the latter half of this progression. A quick recap of
rock-era number beats highlights how these rhythmic templates played the key role
in defining the stages of the rock era.
○ 4-beat shuffle rhythm (late 1940s/early 1950s)
○ Early version of 8-beat rhythm (Late 1950s/early 1960s)
■ Early beatles, “I wanna Hold Your Hand”
○ Mature rock rhythm (late 1960s+)
■ Less repetitive and predictable approach to rock rhythm
○ 16-beat rhythm over rock beat (1970s+)
■ Rap and guitar part map onto 16-beat rhythm (Aerosmith Walk This
Way)
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■ Guitar and drums play insistent 16-beat rhythm (U2 steets have no
name)
Furcation (1995-???)
● The 3rd generation of rock-era music was different from the previous two in two
important ways. Because the rhythmic evolution of popular music had reached an
endpoint, the musical way forward was not at all clear. There was no revolutionary
new direction around which popular music could coalesce, and the turning away
from melody seemed to alienate a sizable percentage of rock’s potential audience.
● In 2017, music rooted in the past--such as classic rock, 80s inspired pop, and country
music--has a larger slice of the market than modern rock.
● By the end of the 20th century, both rock and black music had furcated along
generational lines. Within all three generations there was fresh music from both
established acts and new faces
○ The Strokes “The Modern Age” (2001)
○ Beyonce “Crazy In Love” (2003)
○ Tedeschi Trucks Band “Come See About Me” (2011)
○ Alicia Keys “If I Ain’t Got You” (2003)
○ Bob Dylan “Someday Baby” (2006)
● In particular, those looking to create a 21st century sound have colored their music
with new instrumental timbres and blends to distinguish it from the past. Still, we
remain in the rock era almost by default, since there has not been a revolution in
popular music since the 1960s, and there are no obvious signs of one on the
musical horizon.
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