Florida State University College of Music MUT 3574 Popular Music Analysis

Prof. Jane Piper Clendinning

About this Course: This course is designed for undergraduate students interested in exploring music theories of and analytical techniques for popular music repertoires. This is a Scholarship in Practice course, which means that you will be learning how music theorists analyze popular music, and how they express their ideas orally and in writing. In general, our analytical approach to music repertoire will begin with careful, detailed listening, including (as needed) location of or creation of transcriptions, scores, or other notation or representation of the music, and will include analysis of musical and text elements that seem essential to the sound, substance, distinctiveness, and organization of the musical artworks. Through close reading of scholarly literature on popular music analysis, participants will learn how to use existing music analytical approaches, will examine scholarly writing for style and content, and will work on developing new methods of analysis inspired by and created for the works under study.

This course also has a strong focus on oral and written communication, emphasizing both clear expression of ideas derived from reading and critiquing of scholarly articles and oral and written presentation of each student’s original analytical investigations of music repertoire.

Course activities will include: • Surveys of analytical techniques that may be useful for popular music analysis, including

preparation and discussion of assigned unit readings regarding analytical techniques;• Application of the analytical methods surveyed (as appropriate) to other pieces or repertoire;• Presentations by each student of his or her original analytical work—including analytical

processes applied and discoveries and/or problems that he or she has encountered in the analyticalprocess—in five short “Analytical Fallout” oral presentations;

• Submission of content prepared for each “Analytical Fallout” presentation in written format as abrief analytical paper;

• At the end of the semester, each student will present a conference-style paper based on his or herfinal analytical project on a topic selected by the student and approved by the professor, and willsubmit a final paper capturing his or her analytical observations in scholarly prose.

This course has also been approved as meeting the requirements for Scholarship in Practice and thus is designed to help you become a flexible thinker, a productive member of society, and an independent learner.

This course has been approved as meeting the Liberal Studies requirements for Oral Communication Competency and thus is designed to help you become a flexible and proficient oral communicator for professional purposes.

In order to fulfill FSU’s Scholarship in Practice and Oral Communication Competency Requirements, the student must earn a “C-” or better in the course.

Syllabus Change Statement: Except for changes that substantially affect implementation of the evaluation statement and grading, this syllabus and class policies are a guide for the course and are subject to change with advance notice.

LIBERAL STUDIES FOR THE 21st CENTURY: The Liberal Studies for the 21st Century Program at Florida State University builds an educational foundation that will enable FSU graduates to thrive both intellectually and materially and to support themselves, their families, and their communities through a broad and critical engagement with the world in which they live and work. Liberal Studies thus offers a transformative experience. University-Mandated Course Objectives for Scholarship in Practice Courses: 1. To select, critically evaluate, and apply relevant areas of scholarship to produce an original analysis,

project, creative work, performance or other scholarly work that reflects a body of knowledge relevant to the course.

2. To articulate the process of producing a work, from initial plan, to critique, revision, and completion. 3. To critique existing applications of scholarship in order to learn from past success and failures. Oral Communication Competency Required Student Learning Objectives: These courses are designed to help students become flexible and proficient oral communicators for professional purposes. By the end of the course, students will be able to: 1. Deliver original oral messages for a specific purpose, occasion, and type of audience. 2. Make effective use of both verbal and non-verbal delivery in presentations. Content-Specific Learning Objectives: 1. To become familiar with a wide range of music analytical approaches for popular music and scholarly

literature that describes them; 2. To apply analytical techniques described in the literature to different musical examples; 3. To produce close original analysis of a repertoire of the student’s choosing; 4. To effectively present your analyses orally and in writing. Unit Topics:

Unit 1: Foundations of Popular Music Unit 2: Form in Post-1965 Popular Music Unit 3: Harmony and Melody Unit 4: Rhythm, Meter, Groove, and Hooks Unit 5: Timbre and Production Techniques Unit 6: The Life of a Song (live vs. recorded, covers, videos, samples)

Required Course Materials: There is no textbook for the analytical portion of this course; readings will be posted on Canvas and will be available on the Music Library Reserve. For the Oral Presentation Component, we will be using the online textbook The Public Speaking Project Online Text accessible without charge at http://publicspeakingproject.org/psvirtualtext.html and links to relevant websites will be posted for specific concerns that emerge during the Analytical Fallouts. Students will need to bring a laptop computer or tablet (or article and notes printouts) to class on Reading days to refer to the articles and their own written reading notes during discussion. Students will also need technology access to prepare for Analytical Fallouts and Final Projects, and will need access to a printer to print out their papers for these assignments. All written assignments will be submitted in “hard copy” with pages stapled together on the upper left corner. Office Hours: Tuesday and Thursday 3:45-5:00 and by appointment Office: Longmire 312 Email: jclendinning@ fsu.edu Office Phone: 644-3424 (leave message) Mailbox: beside the KMU Lounge

Evaluation: Analytical Fallout (5, each including a brief oral presentation and paper) 50% Reading Notes and Informed Participation in Class Discussion 25% Final Analysis Project (longer oral presentation and paper) 25%

NB: For Analytical Fallouts and the Final Analysis Project, 50% of the grade is for analytical content, 25% for the oral presentation component, and 25% for analytical writing. See the Rubrics for more detail. Grading Scale: 93-100 = A 90-92 = A- 87-89 = B+ 83-86 = B 80-82 = B- 77-79 = C+ 73-76 = C 70-72 = C- 67-69 = D+ 63-66 = D 60-62 = D- 0-59 = F Analytical Fallout: Each student will be expected to apply the techniques we are studying to music literature of his/her choice that is appropriate for the unit topic, prepare an oral presentation of his/her analytical discoveries, and submit a written paper presenting the analytical information. The term “Analytical Fallout” reflects that the analytical process may not go smoothly—students may encounter problems in applying analytical techniques in the content of original analysis, and the Analytical Fallout presentation and paper may include explication of successful applications of analytical approaches, as well as indicating where an approach was applied but was not as successful. Consult the grading rubric for details of expectations. You will receive comments on the presentation prior to submitting the paper. Students are also expected to comment insightfully and helpfully on the Analytical Fallout of others. Oral Communication Elements: The first week of each semester includes readings and discussion relevant to appropriate oral communication elements and techniques for music theory and analysis “conference style” presentations. Each Fallout is also followed by an Oral Presentation topic addressing issues evident in our class’s presentations (e.g. “filler syllables”, “uptalk”, introducing or concluding the presentation, referencing appropriate analytical methodology, use of technology, or other concerns). Reading Notes and Informed Participation in Class Discussion: This is a seminar format class. Each student will be expected to read articles slowly and carefully to absorb and critique the content, to take detailed notes on every assigned reading to refer to in class, and to participate in an informed manner in class discussion of topics and readings. Final Project: The final project should be based on music repertoire or a topic chosen by the student and approved by the professor. Participants will provide a brief oral presentation (about 15 minutes of presentation) of their project in class on the date specified on the Schedule. The final project will also include an essay plus analytical materials—transcriptions, marked scores, examples, figures, illustrations, or other appropriate illustrative material. The essay component must clearly state the objective of the project, describe the music you studied, explain what you discovered through your analysis, and provide conclusions based on your discoveries. This is written as a formal paper (with citations as needed, footnotes or endnotes, and bibliography); suggested length is 6-8 double-spaced, typed pages in 12-point font, excluding examples, figures, illustrations, endnotes, and other addenda. Consult the rubric for this project for details. You will receive comments on your presentation prior to submitting your paper. An abstract outlining your proposed project topic will be collected on the date specified in the Course Schedule for approval of your topic. Because the content of the Final Project must be essentially complete prior to the presentation in class, all final papers should be submitted by the deadline provided in the Course Schedule. Plan ahead!

Audio and Video Recording Policy: Oral presentations for this class will be video-recorded for later review and critique of the presentations, following university policy for audio and video recording for educational purposes, which include but are not limited to classroom educational activities, teacher or student education or evaluation, and accommodating individuals with disabilities. No audio or video recordings of this class will be permitted other than those authorized by Prof. Clendinning.

Americans With Disabilities Act: Students with disabilities needing academic accommodation should: (1) register with and provide documentation to the Student Disability Resource Center; and(2) bring a letter to the instructor indicating the need for accommodation and what type.Please note that instructors are not allowed to provide classroom accommodation to a student until appropriate verification from the Student Disability Resource Center has been provided. This syllabus and other class materials are available in alternative format upon request.

For more information about services available to FSU students with disabilities, contact the: Student Disability Resource Center, 874 Traditions Way, 108 Student Services Building, Florida State University, Tallahassee, FL 32306-4167 (850) 644-9566 (voice) (850) 644-8504 (TDD) sdrc@admin.fsu.edu http://www.disabilitycenter.fsu.edu/

Academic Honor Policy: The University Academic Honor Policy will be strictly enforced in this class. While it is typical for students in a music theory class to study together, any assignment submitted by a student must represent that student's own work and thoughts. Any reference to the work of others must be cited using standard procedures for academic citations.

The Florida State University Academic Honor Policy outlines the University’s expectations for the integrity of students’ academic work, the procedures for resolving alleged violations of those expectations, and the rights and responsibilities of students and faculty members throughout the process. Students are responsible for reading the Academic Honor Policy and for living up to their pledge to “. . . be honest and truthful and . . . [to] strive for personal and institutional integrity at Florida State University.” (Florida State University Academic Honor Policy, found at http://fda.fsu.edu/Academics/Academic‐Honor‐Policy )

The Academic Honor System of The Florida State University is based on the premise that each student has the responsibility to: 1. Uphold the highest standards of academic integrity in the student’s own work,2. Refuse to tolerate violations of academic integrity in the University community, and3. Foster a high sense of integrity and social responsibility on the part of the University community.

Class Attendance Policy: This class is in seminar format, therefore every student is expected to be in attendance for every class. Unexcused absences will result in deductions from your grade in either the reading preparation and informed discussion category (if you miss reading discussion days) or from your analytical fallout grade (if you miss presentations of other students and are unable to engage their work). Please communicate with the professor in advance if possible if you have to miss a class. As the presentation schedule for analytical fallouts is tight, you need to check your schedule carefully in advance of each fallout, and arrange to swap days if you know in advance you will be absent.

University Attendance Policy: Excused absences include documented illness, deaths in the family and other documented crises, call to active military duty or jury duty, religious holy days, and official University activities. These absences will be accommodated in a way that does not arbitrarily penalize students who have a valid excuse. Consideration will also be given to students whose dependent children experience serious illness.

Florida State University College of Music MUT 3574 Analysis of Popular Music

Professor Jane Piper Clendinning

SCHEDULE OF TOPICS (NB: Subject to Change)

[This is a generic schedule template, which is adjusted for either Fall or Spring classes and for school holidays (Labor Day, Veterans Day, Thanksgiving; MLK Day) and dynamically to accommodate other days when class does not meet (hurricane and snow days).]

Week Dates Topics 1 M Syllabus, Introduction to Course W Presentations of Student Preferred Listening and Genres F Oral and Written Communication for Popular Music Analysis 2 M Unit 1: Foundations of Popular Music W Unit 1: Foundations of Popular Music F Unit 1: Foundations of Popular Music 3 M Analytical Fallout #1 (8 minutes each) W Analytical Fallout #1 (8 minutes each) F Analytical Fallout #1 (8 minutes each) 4 M Unit 2: Form in Post-1965 Popular Music;

Oral Presentation topic based on Analytical Fallout #1 W Unit 2: Form in Post-1965 Popular Music F Unit 2: Form in Post-1965 Popular Music 5 M Analytical Fallout #2 (8 minutes each) W Analytical Fallout #2 (8 minutes each) F Analytical Fallout #2 (8 minutes each) 6 M Unit 3: Harmony and Melody; Oral Presentation topic based on

Analytical Fallout #2 W Unit 3: Harmony and Melody F Unit 3: Harmony and Melody 7 M Analytical Fallout #3 (8 minutes each) W Analytical Fallout #3 (8 minutes each) F Analytical Fallout #3 (8 minutes each) 8 M Unit 4: Rhythm, Meter, Groove, and Hooks; Oral Presentation topic

based on Analytical Fallout #3 W Unit 4: Rhythm, Meter, Groove, and Hooks F Unit 4: Rhythm, Meter, Groove, and Hooks 9 M Analytical Fallout #4 (5 minutes each) W Analytical Fallout #4 (5 minutes each) F Analytical Fallout #4 (5 minutes each) 10 M Unit 5: Timbre and Production Techniques; Oral Presentation topic

based on Analytical Fallout #4 W Unit 5: Timbre and Production Techniques F Unit 5: Timbre and Production Techniques 11 M Analytical Fallout #5 (5 minutes each) W Analytical Fallout #5 (5 minutes each) F Analytical Fallout #5 (5 minutes each)

12 M Unit 6: The Life of a Song: Live Performance vs. Recorded, Covers, Videos, and Samples; Concluding Oral Presentation Topic for Final Papers

W Unit 6: The Life of a Song: Live Performance vs. Recorded, Covers, Videos, and Samples; Final Project Abstracts Due

F Unit 6: The Life of a Song: Live Performance vs. Recorded, Covers, Videos, and Samples

13 M Special Topics (or day used by a holiday) W Special Topics (or day used by a holiday) F Special Topics (or day used by a holiday) 14 M Final Paper Presentations 1, 2, 3 (15 minutes each) W Final Paper Presentations 4, 5, 6 (15 minutes each) F Final Paper Presentations 7, 8, 9 (15 minutes each) 15 M Final Paper Presentations 10, 11, 12 (15 minutes each) W Final Paper Presentations 13, 14, 15 (15 minutes each) F Completion of all topics Final Exam Week

Wednesday, 12:00 noon

Final Paper Due

Florida State University College of Music MUT 3574 Analysis of Popular Music

Professor Jane Piper Clendinning Fall 2018

Reading Assignments Unit 1

Foundations of Popular Music: Blues and Blues-Based Rock;

Form from Broadway Show Tunes and Tin Pan Alley to the 1960s

For Friday, August 31: On Oral Communication Required: Chapters 12 (Delivery) and 13 (Visual Aids) from The Public Speaking Project Online Text http://publicspeakingproject.org/psvirtualtext.html Optional: Peruse other chapters of The Public Speaking Project.

For Wednesday, September 5: Required: Dave Headlam, "Blues Transformation in the Music of Cream," from Understanding Rock, ed. John Covach and Graeme M. Boone, 59-92. Oxford University Press, 1997. [Book on reserve at Music Library; Pdf on Canvas under Course Library.] For Friday, September 7: Required: John Covach, “Leiber and Stoller, The Coasters, and the ‘Dramatic AABA’ Form,” in Sounding Out Pop: Analytical Essays in Popular Music, Ed. Mark Spicer and John Covach (Ann Arbor: University of Michigan Press, 2010): 1-17. [Book on Reserve in Music Library; pdf on Canvas under Course Library.] John Covach, “From ‘Craft’ to ‘Art’: Formal Structure in the Music of the Beatles,” in Reading The Beatles: Cultural Studies, Literary Criticism, and the Fab Four Ed. Kenneth Womack and Todd F. Davis (Albany: State University of New York Press, 2006): 37-54. [pdf on Canvas under Course Library.] For Monday, September 10: Required: Read one chapter of your choice from either Walter Everett, The Beatles as Musicians: Revolver through the Anthology (Oxford University Press, 1999) or Walter Everett, The Beatles as Musicians: The Quarry Men through Rubber Soul (Oxford University Press, 1999). Both books are on reserve in the Music Library (as soon as the reserve list is up). Be prepared to report to the group a brief overview of the contents and interesting aspects of the chapter you have chosen; you may also comment on the authorial stance of Everett, and any critique you wish to share.

Florida State University College of Music MUT 3574 Analysis of Popular Music

Professor Jane Piper Clendinning

Oral Communication Problem: Eliminating “Filler Words”

Here are some websites to review for tips if you are having difficulty with filler words (also known as verbal clutter). My best suggestion is to talk a little slower and insert a silence or pause instead of the “um” or “uh” or “like” or “so”. Some of these offer other ideas that might be helpful to you.

https://www.extension.harvard.edu/inside-extension/tips-public-speaking-eliminating-dreaded-um

https://www.stevendcohen.net/cant-stop-saying-um-or-uh-youre-not-alone/

https://lifehacker.com/how-can-i-avoid-filler-words-like-um-when-i-talk-1520174263

https://www.lifehack.org/302732/the-simplest-ways-stop-saying-like-and-other-filler-words

https://www.ragan.com/6-ways-to-stop-saying-uh-you-know-and-other-word-fillers/

Florida State University College of Music MUT 3574 Analysis of Popular Music

Professor Jane Piper Clendinning

Oral Communication Problem: “Upspeak” or “Uptalk”

Correcting “Upspeak”—sentences that rise in pitch at the end as if they were a question. Upspeak or uptalk makes a speaker appear hesitant, unsure, or unprepared. It is associated more frequently with women speakers, but some men do it, too. Here are some videos on upspeak, and how to correct it.

https://www.youtube.com/watch?v=HEfMwri22SM

https://www.youtube.com/watch?v=TWFLmMVEtfA

https://www.youtube.com/watch?v=NQWej-hMiZI

Here are some commentaries on this . . .

https://matrix.berkeley.edu/research/whats-upspeak

https://www.sankinspeechimprovement.com/are-you-asking-me-or-telling-me-speech-pattern/

Florida State University College of Music MUT 3574 Analysis of Popular Music

Prof. Jane Clendinning

Analytical Fallout Assignment Unit 1: Foundations: Blues and blues-based rock;

Form from Broadway Show Tunes and Tin Pan Alley to the 1960s

OPTION 1: Select a blues or blues-based composition of your choice, and either choose to consider only one specific performance or to compare several. (May be easier to capture the chord progression and what is definitive about the melody using several performances; if one is clear enough, fine to work with one performance). Write a brief analytical essay, or provide analytical charts, graphs, marked score, etc. and explanation, addressing the following questions. Overall analytical question to answer: For the piece you have chosen, what specific musical aspects make it fall within the genres of blues or blues-based composition? If it is blues-based, that assumes it is also a part of another genre (country, rock-n-roll, rock, prog rock, psychedelia, etc.)—what is the other genre that is represented by the piece? Aspects to consider in addressing the overall analytical question: Harmonic aspects: For this piece, listen carefully to the harmonic progression--what are the chords? How do they correspond to the basic 12-bar blues progression? Melodic aspects: What are the characteristics of the melody? Does it use blue notes or elements of the blues “scale” collection? Where are there repeated elements (phrases or motives)? How does this correspond to the basic blues melodic structure (three phrases)? Text: If there is a text, does it follow the “state a problem (2x) then a consequence of the problem” blues text pattern? Form: Does the piece, or a significant section of it, follow the 12-bar blues formal organization (4 + 4 + 4 with the only cadence at the end) or some recognizable variant of it? Other: What other aspects are essential to the sound of this performance? You may consider instrumentation, timbre, riffs, production elements, or really anything that contributes to the specific sound of this performance. OPTION 2: Select a song that is a Broadway show tune (may be recent or 20th century), Tin Pan Alley or Brill Building style composition, or pre-1965 example of popular music. Write a brief analytical essay, or provide analytical charts, graphs, marked score, etc. and explanation, addressing the following questions.

Overall analytical question to answer: For the piece you have chosen, what specific musical aspects identify it as a Broadway show tune, Tin Pan Alley or Brill Building composition, or an example of pre-1965 popular music? If it is pre-1965 popular music, what genre does it fall into (country, rock-n-roll, rock, rhythm and blues, etc.)? Aspects to consider in addressing the overall analytical question: Harmonic aspects: Examine the harmonic progressions--what types of chords and progressions are used? How do they correspond to expectations for this type of piece? Melodic aspects: What are the characteristics of the melody? Are there repeated elements (phrases or motives)? Text: What is the text in this piece? What is its subject matter? Does it have a rhyme scheme or other poetic aspects? Form: How is the piece structured? Does the piece, or a significant section of it, follow Verse-Refrain form, quaternary song form (AABA) or some recognizable variant of it? Other: What other aspects are essential to the sound of this piece? You may consider instrumentation, timbre, riffs, production elements, or really anything that contributes to the specific sound of this performance or you can consider elements of the piece as represented in the score.

Name: Date: Fallout No.:

Analytical Fallout Presentation Rubric

Assessment E G A F P Deduction Percent Content Elements 10% Brief Introduction: Identification of musical selection:

performer/group name, song title, album title, year of release, genre

20% Methodology: Indication of analytical procedure(s) you are employing and relevance to the unit topic

Cite source(s) if using methodology developed by others 30% Analytical Content: Explanation of application of methodology to the musical

selection

Explanation of what you discovered through analysis Appropriateness of the musical selection to the unit topic* Relevance of chosen analytical procedures to the musical

selection*

*If musical selection or methodology did not work together as you expected, explanation of what was problematic

Appropriate depth and detail of content Presentation of content in a logical order Appropriate use of technical terminology 30% Supporting Materials: Analytical examples (transcription, marked score, figures,

illustrations, etc.) are well chosen and easily legible

Inclusion of appropriate recorded examples (cut to right length to make your point)

Inclusion of lyrics (if needed) in a legible format 10% Brief Conclusion: Summary of your findings and wrap up Overall Assessment of Content (50% of AF grade)

Assessment E G A F P Deduction Percent Oral Communication Elements 30% Delivery: Either presented extemporaneously or reads

smoothly from a script

Avoidance of repeated “filler” syllables (“like”, “um”, etc.) Appropriate vocal expression and volume Articulated words clearly 30% Visuals and Audio: Employed technology (PowerPoint,

document camera, audio) appropriately and smoothly

20% Verbal Expression: Correct sentence structure, word choice, and grammar for scholarly presentation

Responds appropriately to questions or comments 10% Timing: Even pacing, started promptly; within time limit 10% Physical Presence: Appropriate appearance for presentation Posture and non-verbal communication Maintained eye contact with audience Energy and enthusiasm, appears confident with content Overall Assessment of Oral Communication Elements

(25% of AF grade)

Name: Date: Fallout No:

Analytical Fallout Paper Rubric

Assessment E G A F P Deduction Writing Elements 20% Overall organization of essay: introduction to musical selection methodology analytical detail brief conclusion 15% Citation: Complete information for musical selection, including

band/performer, composer(s) if known, title, album, date released, genre, version if there are several

Correct citation of any sources 20% Paragraph organization: one main idea for each logical ordering of sentences logical ordering of paragraphs appropriate transitions 15% Sentences/Words: Sentence structure and grammar Appropriate word choice, correct spelling Appropriate use of technical terminology 20% Examples set into text or as an appendix: Analytical and musical examples or illustrations, clearly

labeled

Lyrics provided with analytical markings if appropriate Indication of when reader should refer to analytical examples 10% Mechanics: The essay is typed, double-spaced, standard 12-

point font, 1” margins, pages stapled upper left corner, your name, which AF, and selection title at top of first page

Overall Assessment of Writing Elements (25% of AF grade)

Grading Scale: E = Excellent G = Good A = Average F = Fair P = Poor Comments: Grade Summary:

Element Grade Percentage of Total Contribution Final Grade Content 50% Presentation 25% Writing 25% Totals