Test Bank for What's That Sound An Introduction to Rock and Its History Fifth Edition by John Covach, Andrew Flory Chapter 1-15 Complete
... [Show More] Guide
By Joe Gennaro
UNIVERSITY OF CENTRAL FLORIDA
To Accompany
What’s That Sound?
An Introduction to Rock and Its History
FIFTH EDITION
By
John Covach and Andrew Flory
nW • W • NORTON & COMPANY, INC. • NEW YORK • LONDON
W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Coo per Union. The firm soon expanded their program beyond the Institute, publishing books by celebrated academics from Amer ica and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees.
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Fifth Edition
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CONTENTS
Introduction | Studying Rock 1
Chapter 1 | Roots–1955, The World before Rock and Roll 14
Chapter 2 | 1955–1960, The Birth and First Flourishing of Rock and Roll 27
Chapter 3 | 1959–1963, The Demise of Rock and the Promise of Soul 40
Chapter 4 | 1964–1966, The Beatles and the British Invasion 52
Chapter 5 | 1964–1966, American Responses 64
Chapter 6 | 1960–1970, Motown Pop and Southern Soul 77
Chapter 7 | 1966–1969, Psychedelia 90
Chapter 8 | 1970–1975, The Growing Rock Monster 102
Chapter 9 | 1970–1980, Black Pop, Reggae, and the Rise of Disco 115
Chapter 10 | 1975–1980, Mainstream Rock, Punk, and New Wave 127
Chapter 11 | 1980–1990, I Want My MTV 139
Chapter 12 | 1982–1989, Heavy Metal, Rap, and Indie Rock 152
Chapter 13 | 1990–1999 Alternative Rock and Rock Alternatives 164
Chapter 14 | 1990–1999, Widening Gaps 176
Chapter 15 | 2000–present, Rock Traditions and the Business of Change 188
iii
INTRODUCTION
Studying Rock
1
MULTIPLE CHOICE
1. The study of musical form includes
a. the meaning of lyrics.
b. how sections are organized to create a larger structure.
c. studying the types of instruments used in a song.
d. how musicians create different versions of the same song.
ANS: B PTS: 1 DIF: Easy REF: p. 10
TOP: Typical Formal Types in American Popular Music
2. The 12-bar blues form consists of
a. call-and-response. c. three groups of four phrases.
b. a group of three phrases. d. four groups of four phrases.
ANS: C PTS: 1 DIF: Easy REF: p. 11
TOP: The 12-Bar Blues and the Doo-Wop Progression
3. A chord is a
a. series of single notes that create a key.
b. combination of notes played together.
c. scale organized in a key.
d. series of 12 notes played in succession.
ANS: B PTS: 1 DIF: Easy REF: p. 12
TOP: The 12-Bar Blues and the Doo-Wop Progression
4. How does Jackie Brenston’s “Rocket ‘88’” break with standard blues practices?
a. It inserts additional instrument solos.
b. It uses the same pattern for each verse.
c. It uses different chord progressions for each verse.
d. It does not follow a question/question/answer pattern.
ANS: D PTS: 1 DIF: Moderate REF: p. 12
TOP: The 12-Bar Blues and the Doo-Wop Progression
5. The “doo-wop progression” consists of a
a. series of four chords.
b. combination of four phrases.
c. series of alternating choruses with verses.
d. progression of lyrics to determine the song format.
ANS: A PTS: 1 DIF: Easy REF: p. 12
TOP: The 12-Bar Blues and the Doo-Wop Progression
6. One of the most common musical forms found in Tin Pan Alley songs is
a. doo-wop progression. c. AABA form.
b. simple verse form. d. simple verse-chorus form.
ANS: C PTS: 1 DIF: Easy REF: p. 14 TOP: AABA Form
7. All of the following songs use the 12-bar blues format EXCEPT
a. “Johnny B. Goode.” c. “Shake, Rattle, and Roll.”
b. “Can the Circle Be Unbroken.” d. “Rocket ‘88.’”
ANS: B PTS: 1 DIF [Show Less]