Please Note: This Course Syllabus is an important step in updating the format of our distance courses. If for any reason the Course Syllabus does not match the print Course Guide or online course information, the Course Syllabus shall be taken as correct.

COURSE SYLLABUS COURSE TITLE:

History of Popular Music

COURSE CODE:

MUS 111.3

TERM:

Winter 2012

COURSE CREDITS:

3

DELIVERY:

Online

COURSE SECTION:

W02

Course Description This course provides an introduction to popular music of the United States and Canada. Organized chronologically, the course examines popular music from 1840 to 1990 in a historical context. Previous music knowledge is not necessary, however the course does include a directed listening component, where the student will be required to provide commentary on specific musical elements on various recordings. Note: Open to all students. Students majoring in music may not take this course as an open music elective, but may take this course as an arts elective.

Course Objectives By the end of this course, students should be able to: •

Recognize key figures throughout the history of popular music, and be able to discuss their significance and contributions.

•

Listen to and differentiate between musical styles presented throughout the course.

•

Formulate opinions about the significance of social, cultural and economic factors that influenced the development of various styles.

•

Compare and contrast musical styles from various periods, and identify specific characteristics of each.

•

Discuss the cultural significance of popular music in society.

Course Overview This study of popular music progresses chronologically from approximately the turn of the twentieth century to the turn of the twenty-first century. Each week the course focuses on approximately one decade of music and how social, cultural, and economic factors influenced and impacted the development of various musical styles. Each week students will complete assigned readings and listenings and a quiz at the completion of each module assess student comprehension of the ideas outlined in the module. Bimonthly discussions allow students to

MUS 111.3 – History of Popular Music

interact with fellow classmates as we discuss topics presented in the course and how they relate to musical trends in the current day. Two larger written projects, a concert review and a biographical study of an assigned musician, allow students to explore themes presented in the course in a broader venue. A cumulative final exam concludes the course and serves to synthesize concepts explored in MUS111, the History of Popular Music.

Your Instructor Contact Information Professor Anna Boyden Email Please contact your instructor using your University of Saskatchewan email. Timely responses to emails are a reasonable expectation for students taking the Music 111 online course. Students should not expect the instructor to be available 24/7; however, a response time of 24 hours will be adhered to from Monday to Friday. If there are any potential disruptions to instructor availability (for example, travel with limited Internet access), students will be kept informed through the course announcements. If you need to speak with your professor, please use email to arrange for a mutually convenient time. You will receive a weekly email update regarding the course. Please be sure to check your University of Saskatchewan email regularly for this important information. Online Orientation Sessions There will be an orientation webinar session held during the first two weeks of the course. This session will be held using Collaborate. ITS has information on how to set up your computer, as well as Collaborate tutorials for you to review: http://www.usask.ca/its/services/e_learning/conferencing/web/services/blackboardcollaborate/index.php Due to the limited number of spaces, there will be three dates available for the session. Please sign up for a session using the sign up sheet on the home page. Additional information on how to access the session is available on the course homepage.

Office Hours The instructor can be available for online office hours for 2 hours every week. These office hours will be held using the course Chat function. The weekly chat sessions with the instructor are for those students who wish to ask questions, make general enquiries about course content, assignments, discussions, etc. Times for office hours will be announced in the first week of class. Times for the Chat sessions are also available by appointment. Participation in the Chat room is not required, but can provide students with additional opportunity for questions and clarifications.

Profile Biography of Anna Boyden A native of Calgary, Professor Boyden holds a Bachelor of Music degree in Music Theory and Composition from the University of Calgary, a Master of Arts in Music Theory (University of Page 2 of 13

MUS 111.3 – History of Popular Music

Western Ontario) and is currently in the final stages of completing her PhD in Music Theory (University of Western Ontario). Professor Boyden is a full time instructor with the department of music at the University of Saskatchewan where she has taught for the last four years. Professor Boyden’s research interests include critical theory, the aesthetics of music, the history and analysis of late nineteenth and early twentieth-century opera, the history of music theory, and music theory pedagogy. Her current research focuses on interdisciplinary approaches to opera analysis, specifically Richard Strauss’s 1909 opera Elektra.

Required Resources Readings/Textbooks Read any assigned material from the required book: Rock: A Canadian Perspective Larry Starr, Christopher Waterman, Jay Hodgson. Oxford University Press (please note, the majority of these readings will occur during Modules 8, 9, and 10). Textbooks are available from the University of Saskatchewan Bookstore: www.usask.ca/consumer_services/bookstore/textbooks

Other Required Materials This course requires you to listen to about 40 complete songs and an equal number of song clips. To help you access the music, songs are linked to an iTunes playlist (one list for each module) from the iTunes store. You are not required to use iTunes if you have other sources for the music. However, the playlists will make your listening easier. A small number of required listenings are linked to free web sites run by museums, National Public Radio, etc. In those cases, the direct link is in the module. If you own or have access to some songs, you need not use iTunes. Some students may prefer to purchase songs from other sources. If you locate a free or less expensive legal source of any required music, (or an interesting variant or related song) please mention it on the Discussion Board to benefit other students.

iTunes The iTunes playlist gives you access to 30-second excerpts of the music and the opportunity to purchase the entire song. For some examples, we need only listen to the free clip. For full songs, your $0.69, $0.99, or $1.29 purchase will download to your computer. You can make the purchase with a credit card or an iTunes purchase card. These cards are available at 7-11, Wal-Mart and other convenience stores.

Supplementary Resources Some of the music and performers are can be seen in videos from YouTube and other sites. You are encouraged to watch the videos (and to suggest others to your fellow students and teacher). However, for listening, you need the better quality and chosen performance (artist, arrangement, back-up musicians, etc.) of the iTunes selection.

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MUS 111.3 – History of Popular Music

Course Schedule Week

Module

Activities

1

Orientation

• •

2

Module 1 Warm Up, Tune Up

3

Module 2 The Count In and Post-Civil War Module 3 The American Music Business Module 4 From Ragtime to Jazz Module 5 Cryin' the Blues

4

5 6

7&8

9

10

11

12 13

Module 6 Cryin' the Blues Part Two (Midterm break) Module 7 The Swing Era

Evaluation Due Date 11 January

• • • • • • • • • • • •

Welcome Orientation session(s) o 8, 9, or 10 January 2012 Introduction Post Module readings and listening Discussion board Quiz 1 Module readings and listening Sign up for Musical Profile Project Quiz 2 Module readings and listening Discussion board Quiz 3 Module readings and listening Quiz 4

• • • • • • •

Module readings and listening Discussion board Quiz 5 Module readings and listening Quiz 6 Discussion Summary Assignment Part 1 Musical Profile Project

15 February

18 January

25 January 1 February

8 February

29 February

7 March Module readings and listening Discussion board Quiz 7 Module 8 14 March Module readings and listening Shout Chorus: Rock Reading from Starr et. al Introduction and Roll through the end of Chapter 2 • Quiz 8 Module 9 21 March • Module readings and listening The Revolutionary • Reading from Starr et. al p. 85-162, 171-4. Sixties, • Discussion board A Decade of Change • Quiz 9 Assignments & 28 March • Discussion Summary Assignment Part 2 Study Week • Concert Review Module 10 4 April • Module readings and listening Four Strong Winds • Reading from Starr et. al p. 194-235. • Quiz 10 FINAL EXAM: Thursday 5 April 2012 (available online from 12:01am-11:59pm) • • • • •

*All activities are due by midnight (CST) on the dates provided in bold. Please note, late work will only be accepted with permission from the instructor. Page 4 of 13

MUS 111.3 – History of Popular Music

Note: If for any reason the Course Syllabus Reading List does not match the Module Reading List, the Course Syllabus shall be taken as correct.

Grading Scheme Participation (Discussion Board and Discussion Summaries) Module Quizzes

20%

Musical Profile Project

15%

Concert Review

15%

Final Exam

30%

Total

20%

100%

Information on literal descriptors for grading at the University of Saskatchewan can be found at: http://www.usask.ca/calendar/ then follow the links to see Exams & Grades/Grading system. Please note: There are different literal descriptors for undergraduate and graduate students. More information on the Academic Courses Policy on course delivery, examinations and assessment of student learning can be found at http://www.usask.ca/university_secretary/council/academiccourses.php

Evaluation Components Participation (Discussion Board and Discussion Summary Assignments) Value: 20% of final grade Due Date: Various (please refer to Course Schedule) Purpose: To engage in critical thinking about the themes and ideas presented in the module content. To allow for comparison/contrasting of key concepts related to the development of popular music. Description: This online course uses a Discussion Board to help you understand the course material. For modules 1, 3, 5, 7, and 9, the instructor will post questions for the class to discuss. Discussion board participation is an important component of the course. To receive full marks for participation, you should post on each of the module discussion boards. You will not be graded on quantity alone; to receive full credit, your posts should be of substantial quality. A post need not be lengthy to be meaningful - you are encouraged to be concise but thoughtful with your posts. Please limit your posts about 75 words each. In addition to your overall participation, you will also choose two posts to submit to your instructor for feedback. One post will be submitted in the first half of the course (chosen from discussion on modules 3 and 5), and one post will be submitted at the end of the course (chosen from discussion on modules 7 and 9). (See schedule for specific dates.) Each post should be no more than about 75 words in length, and should represent strong contributions that you have made to the discussions (in terms of writing, content, and evidence of critical thinking). Please note: You may not choose a post from Module 1 to hand in for this assignment. To submit your posts, copy and paste the posts of your choosing into the Written Assignments area. At the top of the post, include the module name and question that your post addresses. You may also add any brief information around context. For example:

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Module 3: The American Music Business Question: Does borrowing in popular music continue? Context: Post in response to comment that borrowing in music continues, but displays more artistic integrity now than it did in the early days of music. Your final grade for discussion board participation will include both your submitted posts as well as your overall participation. The grading rubric for this component is available online.

Quizzes Value: 20% of final grade Due Date: Various (please refer to Course Schedule) Purpose: To develop a solid grounding in key facts, dates, and trends related to popular music. The weekly quizzes also provide an opportunity to become comfortable with the online exam format, which will be used for the final exam. Description: There is one quiz per module. Generally speaking, quizzes will be open for one week, starting from 12:00 am CST on the day the module starts until midnight the following week. For each quiz, you will be allowed 30 minutes from the start time to finish it. You will be allowed one attempt per quiz. Quizzes are a mix of multiple choice, matching, and true or false questions. After the quiz availability has ended, you will be able to view the correct answers. You can review past quizzes by clicking on your grade under the “My Grades” link found in the course menu on the left hand side of the screen. Your final grade for the module quizzes will be based on the average of your quiz scores.

Concert Review Value: 15% of final grade Due Date: Please refer to Course Schedule Purpose: To apply concepts learned during the course to a live performance setting. Description: During the course you will attend a live concert performance of your choice and submit a performance review. The content should reflect your opinion and observations of: •

•

•

•

Musical material presented. How would you describe it, related to the concepts that you have learned in class? Into which category does it fall, and what influences do you observe related to other popular music genres? Overall performance. What did you observe about how the show was set? Why do you think the performer created the atmosphere that they did? How did the performer engage with the audience? Did you notice any similarities to artists studied during the course? Level of audience engagement. What did you notice about how the audience responded to the show? How would you describe the "character" of the audience? Was it a diverse group, or a fairly homogenous one? Personal response to the show. What are your own reflections and opinions on the show?

Live concert performance can include music concerts (singing or instrumental), musical theatre, or opera. You can attend a professional concert or take in a local amateur performance. Other ideas from previous students include jazz night at a local coffee house, performers at pubs, etc. You must attend a live performance during the course semester. You are not allowed to provide a retrospective review. If you have any questions or concerns about accessing a live performance, please discuss with your instructor. Page 6 of 13

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The concert review should be approximately 2 pages (500 words) in length. If you use any resources, please use proper citation format. More information about citation styles is available from the University Resources section, or contact the Writing Centre. To submit your review, post your text in into the Written Assignments area. You may find it easier to first write and edit your review using Word or another text editor, and then copying and pasting into the Assignments area. Or, you may prefer to write and edit your work within the Assignments Area. You may use whichever approach is best for you. Please note that the version that is in the Concert Review post as of the due date will be considered the final version for marking. The Concert Review topic will be locked after this point, and you will be unable to make further edits. The grading rubric for this component is available online. A sample of an excellent concert review is available online

Musical Profile Project Value: 15% of final grade Due Date: Please refer to Course Schedule Purpose: To understand how political, social, economic and other influences have shaped a particular musical artist. Description: For this assignment, you will be creating a profile of a popular musician. Imagine that it is several thousand years in the future. Archeologists have recently uncovered our lost civilization and found a wide array of popular music: The Beatles, The Jackson Five, and Ella Fitzgerald are among their discoveries. Your musical profile will help these future generations understand popular musicians of our day - their influences, genres, and other key details. Each one of you will be contributing to this virtual musical time capsule. You will choose one musician(s) from a list of artists whose primary careers have taken place between 1970 and the 1990s. You will choose the artist by using the sign-up sheet on the home page. There will not be any overlap for this assignment; only one student may choose a given performer on the list. Once you have chosen the artist(s), you will prepare a profile using the time capsule template. (A Word version of this template is available online.) The interview profile will cover the following topics: • • • • • •

Introduce the performer chosen and provide a brief biographical description. Description of the music played over the performer's career. Identification of some of the musical influences that shaped the performer. Why the performer(s) is/are significant. The influences of the performer on subsequent musicians. Commentary on the era, specific world events, location of the artist, or other pertinent details is also welcome.

Your profile will include research into the musician(s). Use proper citation format for your references list. Your references should include a mix of both websites (official artist site, blogs, other websites) and articles. Using a mix of sources will allow you to create a more balanced profile for your musician. The University of Saskatchewan has a Music Index Online that allows you to search 775 international periodicals. As well, they have links to reputable websites and other resources: http://library.usask.ca/subject/mus/articles. Page 7 of 13

MUS 111.3 – History of Popular Music

Your grade will be based on the quality of your research, as well as organization and content for the required sections. Length should be about 3 pages (750 words). To submit your review, copy and paste the text from the completed assignment template into the Written Assignments Area. Or, you may prefer to write and edit your work within the Assignments area. You may use whichever approach is best for you. Please note that the version that is in the Musical Profile Project area as of the due date will be considered the final version for marking. The Musical Profile will be locked after this point, and you will be unable to make further edits. The grading rubric for this component is available online.

Final Exam Value: 30% of final grade Due Date: Please refer to Course Schedule Purpose: Review and synthesis of all materials covered in course. Description: You will be able to access the final exam from 12:01am until 11:59pm on the day it is assigned. Once you start the exam you will have two hours to complete it before you will be locked out. The final covers content from all the modules. It will be a mix of multiple choice, short answer, and essay questions. The exam has been designed for an open-book format. Open book exams test you on your understanding, more than your recall. You will need to prepare for the exam just as you would any other. If you rely on being able to look up the answers, you will not have enough time to complete the exam, nor will you receive full marks on the short answer and essay questions for simply repeating the information from the modules. The exam will ask you to think critically about the themes and ideas covered in the course. While you may wish to refer to dates and facts to support your answers, this is not as important as demonstrating that you understand the material. If you have any technical problems accessing the exam or during the exam, contact the U of S ITS Help Desk at 966-4817 or email [email protected] if technical problems persist. Please do not use the discussion boards for help during the exam - ITS is readily available by phone and able to assist and advise you with any technical issues.

Additional Information Assignments (except for quizzes and the final exam) will be submitted in the Written Assignments Area. You will find the Assignments Area link by on the link in the Course Tools menu on the left side of the screen. Please review the assignment dates carefully. Late assignments must be discussed with your instructor and will only be accepted if approved by the instructor. There will be a penalty of 10% per day for each day that an assignment is handed in late, up to a maximum of four days. Given the large class size, it is important that we maintain the assignment schedule. This will allow your instructor to provide timely feedback on your assignments.

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MUS 111.3 – History of Popular Music

Integrity Defined Integrity is expected of all students in their academic work – class participation, examinations, assignments, research, practica – and in their non-academic interactions and activities as well.

What academic integrity means for students •

Perform your own work unless specifically instructed otherwise. Check with your instructor about whether collaboration or assistance from others is permitted.

•

Use your own work to complete assignments and exams.

•

Cite the source when quoting or paraphrasing someone else’s work. Discuss with your professor if you have any questions about whether sources require citation.

•

Follow examination rules.

•

Discuss with your professor if you are using the same material for assignments in two different courses.

•

Be truthful on all university forms.

•

Use the same standard of honesty with fellow students, lab instructors, teaching assistants, sessional instructors and administrative staff as you do with faculty.

Integrity in non-academic activities Misconduct that disrupts the activities of the university or harms the legitimate interests of the university community could be the cause for non-academic disciplinary action.

Guiding Principles The university documents that lay out our rules and procedures are the Student Academic Misconduct Regulations (University Council) and the Standard of Student Conduct in NonAcademic Matters (University Senate). Both documents are based on the same Guiding Principles: •

Freedom of Expression

•

Mutual Respect and Diversity

•

Commitment to Non-violence

•

Commitment to Justice and Fairness

•

Security and Safety

•

Integrity

Academic Misconduct Procedures “Academic Misconduct” is the term the University uses to describe cheating. Types of cheating are listed in the Student Academic Misconduct Regulations of University Council. There is an onus on every student to become informed about academic misconduct. When an instructor believes a student is guilty of academic misconduct, the following procedures are used:

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MUS 111.3 – History of Popular Music

Informal procedure: Sometimes misconduct is the result of carelessness, misunderstanding of the rules, or miscommunication. In such cases, the instructor may discuss the matter with the student informally. If the student concedes the misconduct, the instructor has the authority to impose one or more of the following penalties: •

reduce the grade on the assignment or exam, to as low as zero

•

require the student to rewrite the assignment or exam.

A penalty imposed by an instructor is not reported to the student’s college and does not become part of the student’s record. A student who disagrees with the allegation of cheating or with the penalty imposed may request a formal hearing. Formal procedure: For more serious misconduct, or in cases where the student disputes the allegation or the penalty, a college hearing board will hear the matter. Procedures for hearings are described in the Regulations. The hearing board has the authority to impose one or more of the following penalties: •

reprimand or censure the student

•

reduce the grade on the assignment, exam, or entire course, to as low as zero

•

require the student to rewrite the assignment or exam

•

require the student to submit an essay or a presentation on academic misconduct

•

suspend or expel the student

•

postpone, deny or revoke the student degree, diploma or certificate

A penalty imposed by a Hearing Board is reported to the student’s college and to the university, and becomes part of the student’s record. A finding of misconduct in research funded by an external agency is reported to that agency. Further appeal of a hearing board decision or penalty is permitted only on grounds of unfair procedure or new evidence. For More Information Integrity and Student Conduct website: http://www.usask.ca/university_secretary/honesty/ Date: Effective January 1, 2010

Academic Misconduct Defined The following constitute academic misconduct that may be the subject-matter of an allegation under the Student Academic Misconduct Regulations: (a)

Providing false or misleading information or documentation to gain admission to the university or any university program;

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MUS 111.3 – History of Popular Music

(b)

Theft of lecture notes, research work, computer files, or other academic or research materials prepared by another student or an instructor or staff member;

(c)

Using work done in one course in fulfillment of any requirement of another course unless approval is obtained from the instructor by whom the material is being evaluated;

(d)

Presenting the work of someone else as one’s own;

(e)

The supply of materials prepared by the student to another student for use by that student as the work or materials of that student;

(f)

Alteration or falsification of records, computer files, or any document relating to a student’s academic performance;

(g)

Violation of the university’s policy on misconduct in scholarly work as outlined at www.usask.ca/university_secretary/policies/research/8_25.php

(h)

Fabrication or invention of sources;

(i)

Failure to observe any stated rule with regard to the procedure used in an examination (or an activity undertaken for academic credit) where such a failure could result in the student gaining relatively greater credit;

(j)

Altering answers on a returned examination;

(k)

When prohibited, removing an examination from the examination room;

(l)

Seeking to acquire or acquiring prior knowledge of the contents of any examination question or paper with the intention of gaining an unfair advantage;

(m) Possessing or using notes or other sources of information or devices not permitted by the course instructor in an examination; (n)

Consulting or seeking the assistance of others when writing a “take home” examination unless permitted by the course instructor;

(o)

Providing false or misleading information with the intent to avoid or delay writing an examination or fulfilling any other academic requirement;

(p)

Failing to observe the terms of any agreement not to disclose the contents of an examination;

(q)

Misrepresenting or conspiring with another person to misrepresent the identity of a student writing an examination or engaging in any other form of assessment;

(r)

Knowingly doing anything designed to interfere with the opportunities of another person to have his or her contribution fully recognized or to participate in the academic program;

(s)

Preventing others from fair and equal access to University facilities or resources, including library resources ;

(t)

Using or attempting to use personal relationships, bribes, threats or other illegal conduct to gain unearned grades or academic advantages;

(u)

Knowingly assisting another person engaged in actions that amount to academic misconduct;

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MUS 111.3 – History of Popular Music

(v)

Plagiarism: the presentation of the work or idea of another in such a way as to give others the impression that it is the work or idea of the presenter. Adequate attribution is required. What is essential is that another person have no doubt which words or research results are the student’s and which are drawn from other sources. Full explicit acknowledgement of the source of the material is required. Examples of plagiarism are:

(w)

I.

The use of material received or purchased from another person or prepared by any person other than the individual claiming to be the author. [It is not plagiarism to use work developed in the context of a group exercise (and described as such in the text) if the mode and extent of the use does not deviate from that which is specifically authorized].

II.

The verbatim use of oral or written material without adequate attribution.

III.

The paraphrasing of oral or written material of other persons without adequate attribution

Unprofessional conduct or behaviours that occur in academic or clinical settings or other work placements, or that are related to the student’s area of professional practice.

Office of the University Secretary 212 College Building, 107 Administration Place University of Saskatchewan, Saskatoon, SK S7N 5A2 Telephone: (306) 966-4632 Fax: (306) 966-4530 http://www.usask.ca/university_secretary/

Academic Honesty Following are some important regulations related to your assignments: •

Plagiarism is a serious offense. If you use resources (books, discussions with others, etc.), cite your sources. Failure to do so is plagiarism. You are expected to have read and understood the University of Saskatchewan's Guidelines for Academic Conduct.

•

You should do the assignments for this course on your own, not in groups unless specified in the assignment instructions. Students whose assignments have been copied from others will be required to redo the assignment.

•

Your instructor may deduct marks if you do not follow the instructions. If you think that your assignment will be late, contact your instructor well in advance of the assignment due date. Instructors will deduct marks for late assignments if you have not made alternative arrangements.

•

Be sure to submit by the due date.

•

You are responsible for seeing that your assignments are submitted as instructed. Do not rely on others to submit your assignments for you. Keep a copy your assignments in case it gets misplaced.

•

Mailed in assignments larger than a 9" x 12" envelope may not be returned to you.

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Acknowledgements Course Author This course was written by Mark deJong, Department of Music, Faculty of Arts and Science

Instructional Design and Course Development This course was developed by Educational Media Access and Production (EMAP) at the University of Saskatchewan.

Course Funding This course was developed with the support of the Technology Enhanced Learning Program (TEL) which is funded by the Ministry of Advanced Education, Employment and Labour, Province of Saskatchewan.

Rev. Oct.27, 2011cz Rev. 7 Nov. 2011 Anna Boyden

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