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Unit Name: Critical Studies: Contemporary 2 (1970-Present)

Unit Code: G1CS8
Teaching Period: Trimester 3, 2016

STAFF

Role Staff Member Email

Coordinator (History) David Lewis dlewis@aim.edu.au

Coordinator (Theory) Jason Weir jweir@aim.edu.au

Lecturer (History) Matt Bray mbray@aim.edu.au

Lecturer (Theory) Simon ONeill soneill@aim.edu.au

LOCATION AND TIMES

Lesson Location Instructor Time

Lecture (History) 401 Bray Wednesday 9am 11am

Lecture (Theory) 401 ONeill Wednesday 11am 1pm

NOTE: Classes commence 5 minutes after the hour, and finish 5 minutes before the hour

UNIT RATIONALE
This unit is an Industry unit that addresses the history and theory of popular music from 1970 to the current
day.

UNIT DESCRIPTION

This unit covers popular contemporary music history and theory from 1970 until the present day. Students
will develop a broad and coherent knowledge of the development of post 1970s popular music from
sociological, historical and theoretical perspectives. Areas of focus include critical reviews and analyses of
technological changes, distribution and delivery methods, modern concepts of songwriting, the changing
roles of instruments and the influence of world music on popular contemporary music.

Students undertaking this course attend a 2-hour class in history during which the major figures and
movements of popular music during the era will be studied. Students will also attend a 2-hour theory class
during which contemporary music theory and analysis will be undertaken through a weekly study of works in
depth.

The students are required to engage in discussion during the class and complete analytical and exam style
forms of assessment to demonstrate initiative, judgement and a broad knowledge of the genres and periods
covered.

AUSTRALIAN INSTITUTE OF MUSIC: AIM.EDU.AU 1-55 Foveaux Street, Surry Hills NSW 2010 T +61 2 9219 5444 F +61 2 9219 5454 E enquiries@aim.edu.au
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WEEKLY TOPICS

Week History Theory

Introduction to Course
Introduction to Course
Week 1 Extended Chords, Slash Chords, Functional
1970-1975 Classic Rock
Harmony and Chord Scales (Revision)

Week 2 Black pop in the 70s: Disco and Funk Rhythm and Groove in Popular Music

22nd September CENSUS 22nd September CENSUS

1975-1982: Mainstream Rock, Punk and New Chord Progressions: Vamps and Loops
Week 3
Wave Typology and analysis of repetitive harmonic
progressions

Melody, Harmonisation and Basic

Week 4 The History of the Music Video and MTV
Reharmonisation

Form, Lyrics and Rhyme in Popular Music

Reading:
Week 5 1980s Pop
Griffiths, D., 2003. From Lyric to Anti-lyric:
Analysing the Words in Pop Song.

Modal Harmony and Modal Interchange in

Week 6 Metal
Popular Music

MID-TRIMESTER BREAK 17th- 21st October

Tuesday 18th October 2016: Classes to run as usual due to upcoming Melbourne Cup Public Holiday.
Monday 17th October and Wednesday 19th - 21st October: Break

Urban Contemporary: The Rise of Hip-Hop and Analysis workshop

Week 7
Nu-R&B Assessment 2 example

st
st
Tuesday 1 November Melbourne Cup Tuesday 1 November Melbourne Cup
Public Holiday Public Holiday

Week 8 Alternative Rock, New Punk and Grunge Approaches to Popular Music Analysis
Reading: Reading:
Griffiths, D., 2003. From Lyric to Anti-lyric: Analysing the Neal, J., 2005. Popular Music Analysis in American
Words in Pop Song. Music Theory.

Modulation in Popular Music

The Emergence of Electronic Music and
Week 9 Direct, Pivot Chord, and Dominant Chord
Production
Modulation - Applications in popular music

Mainstream Pop in the Late 90s: R&B, Teen Pop Advanced Harmony
Week 10
and Latin Music Diminished and Altered Dominant Harmony

Week 11 Music Technology and the New Millennium Revision

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Week History Theory

Week 12 Final Examination Review

LEARNING OUTCOMES
At the conclusion of this unit the student should be able to:
a) Demonstrate a broad and coherent knowledge of contemporary popular music history from
1970 onwards.
b) Critically review, analyse, consolidate and synthesise contemporary popular music history
knowledge from 1970 onwards.
c) Demonstrate a broad knowledge of contemporary popular music theory from 1970
onwards.
d) Apply critical thinking and an informed judgement to analysis of popular contemporary
popular music works.

ASSESSMENTS
Summary
Description Weighting Submission Date Learning Outcomes Assessed

Assessment 1: HISTORY Week 10

th
Research Assignment 33% 10pm Sunday 20 November a) b)
2016 (online submission)

Assessment 2: THEORY Week 10

th
Detailed analysis of a single 33% 10pm Sunday 20 November c) d)
work: 2016 (online submission)

Assessment 3: HISTORY &

Week 12
THEORY 34% a) b) c) d)
During History class
Examination

ASSESSMENT DESCRIPTIONS
Assessment 1: Research Assignment (33%) 1500- 2000 words
Description

Assessment 1 (History) and 2 (Theory) are linked assessments, although they must be uploaded separately
by the due date.

In relation to the track you have selected from the list provided in Assessment 2 below, you are required to
answer one of the following questions related to the artist/band:

a) To be done in conjunction with Deacon Blues Steely Dan (1977)

In relation to the development and success of Steely Dan, why do modern jazz musicians embrace rock
music in the 1970s? What effect does this have on the music industry?

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b) To be done in conjunction with Like a Prayer Madonna (1989)

To what extent did Madonna use her music and videos to express feminism?

a) To be done in conjunction with Country House Blur (1995)

The britpop movement uncritically and enthusiastically promoted a post-thatcher United Kingdom'.
Discuss.

You are to use the relevant readings in your reading kit, plus others of sufficient standard and quality.

This essay must include a bibliography of at least 6 sources. At least 4 of your references MUST be sources other
than websites. (Oxford Music Online and articles from databases such as J-STOR are permitted as cited sources.
Wikipedia is not.)
The layout and referencing (AIM-Harvard Style) of your submission must correspond to the AIM Style Guide, available
online and in the library.
Please note: Your submission must not be built on an assignment you have previously submitted (self-plagiarism). If
self-plagiarism is identified, your actions will incur penalties as outlined in the Student Handbook. Consequences include
a request for resubmission and penalty, or worst case, an automatic fail grade.

Marking Criteria and Rubric

Criteria

% Fail Pass Credit Distinction High Distinction

The writing is excellent

The writing is very clear
The writing is poor and The writing is satisfactory, but The writing is clear and contains and demonstrates highly
Communication and contains very good
unclear with frequent occassionally contains some good to very good presentation developed skills in
and 30 to excellent presentation
errors of grammar. poor and unclear grammar skills and grammar presentation and
presentation skills and grammar.
grammar.

The argument or
A persuasive argument
viewpoint presented in a
or viewpoint on your
clear & supported way is
chosen topic, supported
The argument or viewpoint is well reasoned &
Demonstrate a with a variety of topical,
clearly presented & well demonstrates multiple
cohesive A simple, limited argument or scholarly articles.
No coherent argument or supported by the sources. There linkages across your
synthesis of viewpoint is presented. The Insightful research is
viewpoint expressed in are several examples of linking experience & the
ideas and discussion is linear or very hypothesised
summary or body of the ideas & themes with the chosen research. Research is
knowledge, with obvious. Introduction & convincingly &
50 essay. Little drawing topic & each other. The research thoughtful, well
the summary are adequate, but demonstrates a deep
together of ideas or is thoughtful & well articulated. articulated and shows a
introduction, lack integration & multiple understanding of the
knowledge displayed. The introduction & summary wide ranging
discussion and linkages. field. Introduction &
highlight a limited number of key understanding. The
conclusion summary provide a
topics. introduction & summary
relating to the concise integration of the
describe multiple
question. research & its
aspects of the research
relationship to the field.
& link them together.

An extensive range of An extensive range of

Literature from sources, relevant literature from relevant literature from
most of which are not Literature from a range of scholarly sources has scholarly sources has
Literature from scholarly sources
credible or relevant, and sources, some of which are been synthesised in been evaluated and
has been summarised and
are tenuously related to not credible or relevant, have supporting the synthesised,
incorporated, supporting key
your topic. been referred to in the essay. arguments. substantially supporting
points.
Attempt made to adhere to AIM Style Guide the arguments.
Aim Style Guide referencing
Referencing 20 Adhered to AIM Style AIM Style Guide referencing referencing conventions AIM Style Guide
conventions in both in- text
Guide referencing conventions in both in-text in both in-text referencing conventions
referencing and the reference list
conventions in both in- referencing and the reference referencing and the in both in-text
are in evidence but there are
text referencing and the list, but with multiple errors reference list has been referencing and
inconsistencies.
reference list is minimal and inconsistencies. used almost always reference list has been
or nonexistent. accurately and accurately and
consistently. consistently.

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Assessment 2: (33%)

Description
You are to complete an analysis of a popular contemporary song, chosen from the following list:

a) Deacon Blues Steely Dan (1977)

b) Like a Prayer Madonna (1989)
c) Country House Blur (1995)

Note Assessment 1 and 2 must be based on the same song.

The analysis must include separate, clearly defined sections as listed in bold below:

1. Rhythmic analysis incorporating interplay between textural layers as well as significant rhythmic points of
interest as well as an overall rhythmic analysis.
2. Detailed Harmonic analysis of the overall harmony as well as significant inner parts.
3. Melodic analysis including primary line and counterline and vocal harmony parts
4. Structural and lyrical analysis incorporating form, lyrics, and textural development within the work.

You must include transcribed examples for every section to support our discussion (Rhythm, melody,
harmony and structure). The examples must be clearly listed.
The submission is a theoretical analysis styled submission. It does not require references and it may be in
bullet point format.
Marking Criteria and Rubric

Criteria
% Fail Pass Credit Distinction High Distinction

Analytical tools and An excellent use of

logical analysis with
Lack of, or incoherent Some general rhythmic theoretical methodology analytical tools and
supporting evidence in
analysis and supporting analysis with supporting related to specific and theoretical methodology
Rhythmic relation to general and
20 evidence in relation to evidence, but general rhythm in the work related to specific and
Analysis specific rhythmic areas in
rhythm in the work. unconvincing overall. are of a high to very high general rhythm are evident.
the work.
order. The analysis is articulate
and completely accurate.
An excellent use of
Analytical tools and
logical analysis with analytical tools and
Lack of, or incoherent Some general harmonic theoretical methodology
supporting evidence in theoretical methodology
analysis and supporting analysis with supporting related to specific and
Harmonic relation to general and related to specific and
20 evidence in relation to evidence, but general harmony in the work
Analysis specific harmonic areas in general harmony are
harmony in the work. unconvincing overall. are of a high to very high
the work. evident. The analysis is
order.
articulate and completely
accurate
Analytical tools and An excellent use of
logical analysis with
Lack of, or incoherent Some general melodic theoretical methodology analytical tools and
supporting evidence in
analysis and supporting analysis with supporting related to specific and theoretical methodology
Melodic relation to general and
20 evidence in relation to evidence, but general melody in the work related to specific and
Analysis specific melodic areas in the
melody in the work. unconvincing overall. are of a high to very high general melody are evident.
work.
order. The analysis is articulate
and completely accurate

Analytical tools and An excellent use of

logical analysis with
Lack of, or incoherent Some general melodic theoretical methodology analytical tools and
supporting evidence in
analysis and supporting analysis with supporting related to specific and theoretical methodology
Structure and relation to general and
20 evidence in relation to evidence, but general melody in the work related to specific and
Lyric specific melodic areas in the
melody in the work. unconvincing overall. are of a high to very high general melody are evident.
work.
order. The analysis is articulate
and completely accurate

Written The writing is satisfactory, The writing is clear and The writing is very clear and The writing is excellent and
The writing is poor and
submission - but occassionally contains contains good to very good contains very good to demonstrates highly
unclear with frequent
Communication 20 some poor and unclear presentation skills and excellent presentation skills developed skills in
errors of grammar.
and grammar grammar and grammar. presentation and grammar.
Presentation

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Assessment 3: Final History and Theory Examination (34%)

A 1 hour and 30 minute written examination (plus 5 minutes Reading Time) will take place in Week 12
assessing your knowledge of the history and theory component of the course.

Please make sure that you bring your Student I.D. card for admission to the examination room. Additionally,
only writing tools and a bottle of water may be taken to a students writing desk. Mobile phones and other
devices must be switched off and out of reach for the duration of the examination.

TEXTS
Required Reading:
Covach, J., 2005. Form in Rock Music: A Primer. In D. J. Stein, ed. Engaging Music: Essays in Music
Analysis. New York: Oxford University Press, pp. 6576.
Griffiths, D., 2003. From Lyric to Anti-lyric: Analysing the Words in Pop Song. Analysing Popular Music.
Neal, J., 2005. Popular Music Analysis in American Music Theory. Zeitschrift Der Gesellschaft fr
Musiktheorie, 2(2-3), pp.173180.
Tagg, P., 2009. Everyday Tonality, New York: The Mass Media Scholars Press.

Recommended Texts:
Anderson, G. 2009. Tivoli King: Life of Harry Rickards, Vaudeville Showman. Kensington: Allambie Press.
Argyle, R. 2009. Scott Joplin and the Age of Ragtime. , Jefferson: McFarland & Company.
Bennett, A. Cultures of Popular Music. Maidenhead: Open University Press.
Clarke, D. 1995. The Rise and Fall of Popular Music. New York: St. Martin's Press.
Covach, J. R. 2009. What's That Sound?: An Introduction to Rock and its History. New York: Norton.
Emerson, K. 2006. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era. La Vergne:
Ingram International.
Gracyk, T. 2007. Listening to Popular Music: Or, How I Learned to Stop Worrying and Love Led Zeppelin.
Ann Arbor: University of Michigan Press.
Jacobs, G. 2004. Mr S: the last word on Frank Sinatra. London: Pan.
Negus, K. 1997. Popular Music in Theory: An Introduction. Hanover: University Press of New England.
Schuller, G. 1972. Early Jazz: Its Roots and Musical Development. New York: Oxford University Press.
Schuller, G. 1989. The Swing Era: The Development of Jazz 1930-1945. New York: Oxford University
Press.
Starr, L., & Waterman, C. A. 2003. American Popular Music: From Minstrelsy to MTV. Oxford: Oxford
University Press.
Werner, C. 2002. A Change is Gonna Come: Music, Race and the Soul of America. Edinburgh: Canongate.

AUSTRALIAN INSTITUTE OF MUSIC: AIM.EDU.AU 1-55 Foveaux Street, Surry Hills NSW 2010 T +61 2 9219 5444 F +61 2 9219 5454 E enquiries@aim.edu.au
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G1CS8 Critical Studies: Contemporary 2 Listening List

The following listening list is available on Subsonic (subsonic.aim.edu.au), AIMs online audio streaming
resource. Login details are Username: student; Password: AIMstudentsub1.

Please note that Subsonic works best using the Firefox web browser.

Track Title of Song Artist Performers Year

Week 1: Classic Rock

1 Whole Lotta Love Led Zeppelin 1969
2 All the Young Dudes Mott the Hoople 1972
3 Take it Easy The Eagles 1972
4 Dont Stop Fleetwood Mac 1977
5 Eagle Rock Daddy Cool 1971

Week 2: Black Pop in the 70s: Disco and Funk

1 Sex Machine James Brown 1970
2 Papa was a Rolling Stone The Temptations 1972
3 I will Survive Gloria Gaynor 1979
4 I Love to Love You Baby Donna Summer 1975
5 Give Up the Funk Parliament 1973

Week 3: 1975 1982: Mainstream Rock, Punk and New Wave

1 God Save the Queen Sex Pistols 1977
2 Olivers Army Elvis Costello and the Attractions 1979
3 I Never Loved Eva Braun The Boomtown Rats 1978
4 Blitzkrieg Bop The Ramones 1975
5 More Than a Feeling Boston 1976

Week 4: The History of the Music Video

1 Thriller Michael Jackson 1983
2 Like a Virgin Madonna 1984
3 Video Killed the Radio Star The Buggles 1979
4 Just Cant Get Enough Depche Mode 1981
5 This Too Shall Pass OK Go 2009

Week 5: 1980s Pop

1 Computer Games Mi-Sex 1979

2 Dont Stand So Close to Me The Police 1980
3 Pride U2 1984
4 Born in the USA Bruce Springsteen 1984
5 We are the World Live Aid 1985
6 Excitable Boy Warren Zevon 1978

Week 6: Metal
1 The Number of the Beast Iron Maiden 1982
2 Enter Sandman Metallica 1991
3 Hot for Teacher Van Halen 1984
4 Iron Man Black Sabbath 1969
5 Ace of Spades Motorhead 1980
6 South of Heaven Slayer 1988

Week 7: Urban Contemporary: The Rise of Hip-Hop and Nu-R&B

1 Rappers Delight Sugar Hill Gang 1979
2 Its Like That Run-DMC 1984
3 Ladies First Queen Latifah 1989
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Track Title of Song Artist Performers Year

4 Nuthin But a G Thang Dr Dre feat. Snoop Doggy Dog 1993
5 The Message Grandmaster Flash and the Furious Five 1982
(You gotta) Fight for your Right (to
6 The Beastie Boys 1986
Party)

Week 8: Alternative Rock, New Punk and Grunge

1 Debaser The Pixies 1988
2 Smells like Teen Spirit Nirvana 1991
3 Black Hole Sun Soundgarden 1994
4 The One I Love REM 1988
5 Higher Ground Red Hot Chili Peppers 1989

Week 9: The Rise of Electronic Music and Production

1 Astronomy Domine Pink Floyd 1967
2 Baba ORiley The Who 1972
3 TransEurope Express Kraftwerk 1983
4 Who are the Brain Police? The Mothers of Invention 1967
5 Bizarre Love Triangle New Order 1986
6 Justified and Ancient The KLF feat. Tammy Wynette 1991

Week 10: Mainstream Pop in the Late 90s: R&B, Teen Pop and Latin Music

1 Baby One More Time Britney Spears 1999

2 End of the Road Boys II Men 1992
3 Smooth Santana feat. Rob Thomas 1999
4 Fallin Alicia Keys 2001

Week 11: Music Technology: The LP to the MP3 Revolution

1 Single Ladies Beyonce 2003
2 Not Ready to Make Nice The Dixie Chicks 2006
3 Gold Digger Kanye West 2005
4 Poker Face Lady Gaga 2008
5 99 Problems Jay-Z 2004

STUDENT RULES

Please refer to Section 5 of the AIM Student Handbook (see AIM website: Student Life > Current Students > Forms &
Handbooks) for further detail regarding policies on Assessment, Examinations, Grading, Late Penalties and Student
Conduct.

AUSTRALIAN INSTITUTE OF MUSIC: AIM.EDU.AU 1-55 Foveaux Street, Surry Hills NSW 2010 T +61 2 9219 5444 F +61 2 9219 5454 E enquiries@aim.edu.au
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