1. Transitions 1960-70

2. Overview: The Youth Generation of the 1960s Kennedy's assassination Social issues Sexual revolution Music was a central to the 1960s landscape

3. Bob Dylan

4. Birth of folk- rock

5. H is lyrics are significant for their symbolism, internal ironies, sarcasm, thought-provoking messages, dry wit, surrealism, and graceful flow

6. Aretha Franklin

7. Early years Early 1960s, Aretha pop singer for Columbia Records Wexler and Atlantic Records Songs by some of the finest songwriters Vocal agility

8. Respect First up-tempo hit Emotionally redefined fast soul Transforms sexual machismo Became anthem for women’s movement Interlocked rhythm section

9. Respect Denser textures Spelling out RESPECT memorable Verse/refrain has changed Riffs or sustained chords Gospel sound

11. San Francisco: Overview 1.Drugs 2.Volume levels at live concerts reached a new high. 3.San Francisco groups often placed considerable emphasis on the instrumentalists 4.Electronic technology

12. Janis Joplin

13. Ball and Chain Stutters, reiterations Melismas, interpolations Hommange to Smith? Hisses “sitting” Necessary embellishments

15. Ball and Chain Joplin’s voice not as rich as Smith’s Tempo of the song slower Musical space must be filled Progressively less restrained

16. Pearl Roots in R & B and Gospel Janis was unique Mercedes Benz Parodies hippie values and communalism A cappella

17. Art Rock And Frank Zappa

18. In the late 1960s, the creative minds in rock began to expand Just how far can Rock go? Art Rock And Frank Zappa

19. Classical Elements and Rock Elements 1. Quote a classical excerpt in the midst of a rock song. 2. Use a classical melody as the basis of a rock song. 3. Create a series of rock songs conceived as units in a larger form.

20. Frank Zappa

21. Help I’m a Rock A "It can't happen here"—non-metric, non-tonal vocal expanding this lyric B "Who could imagine"—(1) "freak out in Kansas" (followed by improvisation on "Kansas") (2) "freak out in Minnesota" (followed by improvisation on "Minnesota") C: Instrumental section—piano and drums in a fragmented, non-tonal, pointillistic style

22. Help I’m a Rock B: "Who could imagine"—"freak out in Washington, D.C." (followed by improvisation on "D.C.") A: "It can't happen here"—enters underneath previous section, but begins to dominate D: "I remember"—metric; three phrases

23. Help I’m a Rock A: "It couldn't happen here"—brief return E: Suzy Creamcheese—dialogue with semi- fictional Zappa character A: "It can't happen here"—brief return; filtered voices

24. Help I’m a Rock Combines two common classical forms: the arch form and the rondo. C B B A A Improvisation Experimentation with textures