The course is designed to examine music expressions that were manifest in particular moments of the United States of America's history. Special attention will be given to the nature of the music expression with relation to the social and cultural need that generated it in an approach that is both analytical and critical. Today’s music in the States is very much a child of significant social and political movements in the 20^th century. These movements are examined in depth with relation to the music they produced. A correlation is thus made between musical forms, expressions, technologies – recording, film and internet – and the context in which they are situated.
Analysis of representative pieces; consideration of critical and aesthetic issues relating to popular music; relationship of popular music to "art" music and to American culture and society. Special attention will be given to the role of music in major social movements that have defined contemporary American history. Students will acquire a knowledge of musical form and content, and techniques of critical analysis of these expressions in their historic contexts.

1.      African American
•       Slavery and African music traditions
•       Christian conversion of slaves, evolution of musical expressions
•       The Negro Spiritual and development of Gospel music
•       Blues, Ragtime and Jazz

•       Secular-sacred musical interactions in the 20th century – the Civil Rights (1950s) and the Black Power movements (1960s)

2.      Pop music
•       The Rock’n’roll movement of the 1950s
•       Rock, Soul, Motown and Country in the 1960s
•       Disco, Heavy Metal, Reggae and Punk Rock in the 1970s
•       Hip Hop and Rap in the 1980s
•       The Implications of Technology
•       Social significance
•       The Internet Era: America and the Global Village

3.      Music, Theatre and Cinema
•       The Musical
•       Music in the movies

Assessment Guidelines for assigning main letter grades: A, B, C,D, and F.

A:  Work of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensiveknowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.

B:  This is highly competent level of performance and directly addresses the question or problem raised.

There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.

C:  This is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.

D:  This level of performances demonstrates that the student lacks a coherent grasp of the material.

Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.

F: This work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

1. Introduction and outline of music expressions in the United States
2. The Puritans in 1620, what was brought from Europe and how it developed and interacted with social realities in the next century.
3. African exiles: the arrival of Africans in the early 1600s, the musical traditions they brought with them and how they were expressed in their new existential contexts.
4. Negro spirituals and religious song expressions in the 1800s. Discussion of musical syncretism.
5. New Orleans in the 1800s: a musical and cultural melting pot, Congo Square dances and the assimilation of musical expressions by Louis Moreau Gottschalk.
6. The rise of Ragtime
7. Singin’ the blues: a manifestation of Afro-American folk music in solo singing.
8. Jazz: the pioneers.
9. The consummate Jazz musician: Duke Ellington – the man and his music.

10.   The Americanists: George Gershwin and Aaron Copland – the search for an ‘American’ musical identity.

11.   Processes of Innovation and Experiment in American Art Music: Charles Ives, Henry Cowell and Charles Ives.

12.  Popular music in the interwar years: Broadway musicals and Bebop.

13.   Rhythm and Blues, Country Music and the birth of Rock and Roll.

14.   Niches in popular music: Disco, Punk, New Wave and Rap

15.   Minimalism and post-minimalism: Terry Riley, Steve Reich, Philip Glass and John Adams

16.   Pop and Contemporary music today

17.   Review