question archive 1) List the four elements of gospel featured and appropriated in the popular music of the later 1940s and 1950s, and explain which elements contributed to popular music in the early 1960s (this could include Sam Cooke, Girl Groups, Motown, and the British Invasion)
1) List the four elements of gospel featured and appropriated in the popular music of the later 1940s and 1950s, and explain which elements contributed to popular music in the early 1960s (this could include Sam Cooke, Girl Groups, Motown, and the British Invasion)
Subject:SociologyPrice: Bought3
1) List the four elements of gospel featured and appropriated in the popular music of the later 1940s and 1950s, and explain which elements contributed to popular music in the early 1960s (this could include Sam Cooke, Girl Groups, Motown, and the British Invasion). [Dave Headlam, “Gospel to 1950s and 1960s vocal groups, and 1960s soul,” in The Cambridge Companion to Blues and Gospel Music, ed. by Allan Moore (Cambrige: Cambridge University Press, 2002), Music 9 reader, pp. 114–19.]
3. What was the most common background shared by what Christgau calls the “love crowd” that converged at the Monterey Pop Festival? How did the Festival reconcile the values of the love crowd with commerce? What do you think of Christgau’s assessment of the performances he witnessed at the Festival? [Robert Christgau, “Anatomy of a Love Festival,” Esquire (Jan. 1968), Music 9 reader, pp. 284–90.]
4. Explain briefly how the music made by Crosby, Stills Nash and Young, James Taylor and Simon & Garfunkel circa 1970 expressed the social movements and culture of that period of American history. Cite at least one song from each artist. [David Browne, excerpts from Fire and Rain: The Beatles, Simon & Garfunkel, James Taylor, CSNY, and the Lost Story of 1970 (Cambridge, MA: Da Capo, 2011), Music 9 reader, pp. 323–27.]
3. What was the most common background shared by what Christgau calls the “love crowd” that converged at the Monterey Pop Festival? How did the Festival reconcile the values of the love crowd with commerce? What do you think of Christgau’s assessment of the performances he witnessed at the Festival? [Robert Christgau, “Anatomy of a Love Festival,” Esquire (Jan. 1968), Music 9 reader, pp. 284–90.]
