Faculty of Arts, Law and Social Sciences

Department of Music and Performing Arts

Popular Music in Context 1

AF115011S

Academic Year: 2009-2010

Semester 1
Contents

Contents .............................................................................................................................. 2  
1. Key Information....................................................................................................................2  
2. Introduction to the Module ...................................................................................................3  
3. Intended Learning Outcomes ..............................................................................................3  
4. Outline Delivery ...................................................................................................................4  
4.1. Lectures and workshops .............................................................................................. 4  
4.2. Attendance Requirements.......................................................................................... 10  
4.3. Attendance for Group and Collaborative Work .......................................................... 10  
5. Assessment .......................................................................................................................11  
5.1 Feedback..................................................................................................................... 13  
6. Assessment Criteria and Marking Standards ....................................................................13  
6.1 Anglia Ruskin University Generic Assessment Criteria............................................... 13  
6.2 Module Specific Assessment Criteria.......................................................................... 13  
7. Assessment Offences ........................................................................................................20  
8. Learning Resources...........................................................................................................21  
8.1. Recommended Texts ................................................................................................. 21  
8.2. Recommended Internet Resources ........................................................................... 22  
8.3. Recommended Listening/Viewing .............................................................................. 23  
8.4. Other Resources ........................................................................................................ 24  
9. Module Definition Form......................................................................................................25  
10. Report of Last Delivery of Module ...................................................................................28  

1. Key Information
Module Title: Popular Music in Context 1
Module Code: AF115011S

Module Leader: Miguel Mera

Cambridge/Helmore 155
Extension: 0845 196 5001
Email: miguel.mera@anglia.ac.uk

Location of Pathway Module Tutor Contact

Delivery

Lecture: Hel Popular Music Miguel Mera Helmore 155

038a FdA/BA 0845 196 5001
miguel.mera@anglia.ac.uk

Seminar: Hel Popular Music Miguel Mera as above

038a FdA/BA

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2. Introduction to the Module
The purpose of this module is to provide an historical, social and cultural context for the
study of contemporary popular music. It provides the basis for the identification and
consideration of a range of styles in 20th and 21st century popular music and for the
subsequent study of particular genres. Participation in this module will enable the student to
engage in informed debate about current issues in contemporary popular music. The module
encourages the recognition that the development of music is determined by factors which
often lie outside of issues of artistic expression, and the political and social aspects of the
creative environment are explored. In considering these issues, music from a range of
musical periods and cultures will be examined, in order to place it within an appropriate
historical, cultural and aesthetic framework. The module will also respond to current trends
and student interests in order to relate contextual issues to contemporary practice.
Assessment comprises an oral presentation and an essay, demonstrating understanding of
the contextual matters under investigation.

A range of themes will be explored and include emphasis upon the following:

• Blues
• Rock
• Music Video
• Hip Hop

3. Intended Learning Outcomes

On successful completion of this module you will be able to:

1. apply levels of critical understanding to the consideration of the context of popular music
within a given social environment;

2. demonstrate an enhanced awareness of the notion of ‘influence’ and how that relates to
the creative process

3. demonstrate a detailed knowledge of major theories relating to the popular music

studied and an awareness of a variety of ideas, contexts and frameworks

4. demonstrate an ability to analyse a range of information with minimum guidance using

given classifications/principles

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4. Outline Delivery
4.1. Lectures and workshops

Week 1 – Introduction - What is Popular Music?

Listening: Various examples

Reading:
Middleton, R. 2000. ‘Introduction: Locating the Popular Music Text’ in Middleton R. ed.
Reading Pop: Approaches to Textual Analysis in Popular Music, Oxford University
Press, pp. 1-19.

Further Reading:
Leach, E. E. 2008. ‘Popular Music’, in Harper-Scott, J.P.E. and Samson, J. eds. An
Introduction to Music Studies, Cambridge University Press, pp. 188-199.
Toynbee, J. 2000. ‘Genre-Cultures’, in Making Popular Music: Musicians, Creativity and
Institutions, London: Arnold, pp. 102-129.

Themes:
• Outline of the module including assessment requirements.
• Origins of popular music
• How do we define and study popular music?
• Simon Frith’s delineations.
• Analytical strategies for popular music.
• Popular Music and Its relationship to society and social context.

Seminar Task: Defining and categorising popular music and analytical approaches.

Week 2 – Classic and Delta Blues

Listening:
Bessie Smith: You’ve Got To Give Me Some, Nobody Knows When you’re Down and Out
Mammie Smith: Crazy Blues
Ma Rainey: Yonder Come the Blues
Big Bill Broonzy: When Will I Get to Be Called a Man?
Robert Johnson: Come on in My Kitchen, Terraplane Blues, Ramblin’ on my Mind, Love in
Vain Blues, Crossroads

Reading:
Wald, E. 2005. ‘What is Blues?’ in Escaping the Delta: Robert Johnson and the Invention of
the Blues, New York: Harper Collins, pp.3-13

Further Reading:
Evans, D. 1971 Big Road Blues: Tradition and Creativity in the Folk Blues, Berkeley
California University Press.
Jones, le R. 1963. Blues People: The Negro Experience in White America and the Music
that Developed From it, New York: William Morrow and Company.
McClary, S. 2003. ‘Bessie Smith: Thinking Blues', in Bull, M. and Back, L. eds. The Auditory
Culture Reader, Oxford: Berg, pp. 427-34.
Roebuck, G. 2006. Finding Robert Johnson, Virginia Beach, VA: Earmark.

4
Themes:
• Slavery and the Jim Crow laws
• Oral tradition, field holler and prison songs
• Bessie Smith and the Theatre Owners Bookers Association.
• Minstrelsy and vaudeville.
• Difference between male and female performance contexts.
• Robert Johnson, the crossroads and devil tuning.
• Call and response structures, 12 bar and lyric blues.

Seminar Task: Analysis of Robert Johnson’s style and discussion of the delta blues
tradition.

Week 3 – Urban Blues

Listening:
Muddy Waters: Mannish Boy, Hoochie Coochie Man
B.B. King: Three O’Clock Blues, The Thrill is Gone, Everything I Do is Wrong

Reading:
Oakley, G. 1976. ‘City Blues’ in The Devil’s Music: A History of the Blues, London: BBC. pp.
172-190.

Further Reading:
Moore, A. 2002. The Cambridge Companion to Blues and Gospel Music, Cambridge
University Press.
Oliver, P. 1998, The Story of the Blues, Boston: Northeastern.

Themes:
• Depression era and its impact.
• Transportation, urbanisation and electrification.
• Migration and the spread of the blues.
• Symbolic meaning of the city
• The blues shuffle.

Seminar Task: Research quiz and group tasks on B.B. King and Muddy Waters.

Week 4 – 1950s, Rock Around the Clock

Listening/Viewing:
The Blackboard Jungle, dir. R. Brooks, 1955.
Chuck Berry: Roll Over Beethoven, Johnny B. Goode.
Eddie Cochran: C’mon Everybody
Bo Diddley: Bo Diddley
Bill Haley and the Comets: Rock Around the Clock
Rick Nelson: I’m Walkin’
Jerry Lee Lewis: Great Balls of Fire
Elvis Presley: Mystery Train, Good Rockin’ Tonight, Heartbreak Hotel, Don’t be Cruel
Little Richard: Good Golly, Miss Molly
Gene Vincent: Be-Bop-A-Lula

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Reading:
Peterson, R. A. 1990. ‘Why 1955? Explaining the Advent of Rock Music’ in Popular Music,
(9) 1, pp. 97-116.

Further Reading:
Beebe, R.; D. Fulbrook, B. Saunders (eds.) (2002). Rock over the Edge, Duke University
Press.
Bertrand, M. T. 2000. Race, Rock, and Elvis. University of Illinois Press.
Taylor, T. D. 2000. ‘His name was in Lights: Chuck Berry’s Johnny B. Goode’ in Middleton
R. ed. Reading Pop: Approaches to Textual Analysis in Popular Music, Oxford
University Press, pp. 163-182.

Themes:
• The rise of the teenager.
• ‘Shave and a haircut, two bits’
• Elvis Presley and Sun Records
• Rockabilly guitar and vocal styles, Southern roots and borrowings from black music
and style.
• Elvis’ move from Sun to RCA, glory years and the transformation into rock's first
great hero and uniting force.

Seminar Tasks: Compare and contrast Elvis styles through his career.

Week 5 – 1960s, Guitar Heroes

Listening:
The Who: My Generation, Substitute, Baba O’Riley
The Rolling Stones: Paint it Black
The Kinks: Waterloo Sunset
Jimi Hendrix: Star Spangled Banner, Hey Joe, Purple Haze
Cream – White Room
Captain Beefheart – Electricity
Pink Floyd: Arnold Layne, See Emily Play

Reading:
Whiteley, S. 2000. ‘Progressive Rock and Psychedelic Coding in the Work of Jimi Hendrix’
Reading Pop: Approaches to Textual Analysis in Popular Music, pp. 235-261

Further Reading:
Covach, J. 2006. What’s That Sound? An Introduction to Rock and Its History. W. W. Norton
& Company.
Brackett, D. ed. 2009. The Pop, Rock, and Soul Reader: Histories and Debates, New York:
Oxford University Press.

Themes:
• The ‘Hendrix’ Chord.
• Virtuosity and Performance innovation.
• Recording developments
• Psychedelia
• Supergroups
• From pop to art

Seminar Task: Students to bring in examples of interesting rock songs, presentation and
class discussion to consider features of (sub)genre, texture, structure, timbre, lyrics, market
etc.

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Week 6 – Music Video: ‘I Want my MTV’

Listening/Viewing;

Adam Ant: Stand and Deliver

Aha: Take on Me
Bronski Beat: Smalltown Boy
The Buggles: Video Killed the Radio Star
Michael Jackson: Thriller
Cindi Lauper: Girls Just Wanna Have Fun
Robert Palmer: Addicted to Love

Reading:
Mercer, K. ‘Monster Metaphors: Notes on Michael Jackson’s Thriller’ in Frith, S. Goodwin, A
and Grossberg, L. eds. London: Routledge, pp. 93-108.

Further Reading:
Goodwin, A. and Grossberg, L. 1992. Sound and Vision: the Music Video Reader.
Banks, J. 1996. Monopoly Television: MTV's Quest to Control the Music, Westview Press.
Denisoff, R. S. 1991. Inside MTV, New Brunswick: Transaction publishers.

Themes:
• Music video as a commodity
• Music and meaning
• Mythic embodiment
• Categorisation of music video
• Structural and narrative concerns
• Approaches to audio-visual analysis

Seminar Task: Analysis of Michael Jackson’s Thriller.

Week 7 – Independent Study Week

This week you will be able to see a live performance at Cambridge’s premiere gig venue,
The Junction. http://www.junction.co.uk/

Your tickets have been generously paid for by the department and so entry to the gig for you
is free.

Seth Lakeman http://www.sethlakeman.co.uk/

Tuesday 3rd November, 7pm

Seth Lakeman hates labels. And those who label the music he makes ‘folk music’ may find
themselves having to redefine the meaning of the term. He is as far away from any woolly
jumper folk stereotype as you can get. And while there are elements of the traditional in his
music he also delivers a rhythmic, contemporary sound and vivid lyrical imagery, fusing the
energy of punk or rock with the heartfelt emotion of blues and soul.

Bar open from 7pm.

7
Week 8 – Music Video: Why I Still Want my MTV

Listening/Viewing:
Bjork: Triumph of a Heart
Incubus: Warning
Madonna: Cherish
Metallica: Enter Sandman
OK Go: A Million Ways, Here it Goes Again

Reading:
Vernallis. C. 2004. ‘Editing’ Experiencing Music Video: Aesthetic and Cultural Context, New
York: Columbia University Press, pp. 29-53.

Further Reading:
Goodwin, A. 1992. Dancing in the Distraction Factory: Music Television and Popular Culture,
University of Minnesota Press
Williams, K. 2003. Why I Still Want My MTV: Music Video and Aesthetic Communication.
Cresskill, New Jersey: Hampton.

Themes:
• Star status and identity.
• Rhythmic structures, musical phrasing.
• Colour symbolism, texture and time.
• Analytical methods.
• Music image and lyrics connections and oppositions
• Music Video goes viral.

Seminar Task: Analytical approaches to Madonna’s Cherish.

Week 9 - Hip-Hop: The Ghetto and Beyond

Listening:
Sugar Hill Gang: Rapper’s Delight
NWA: Straight Outta Compton, F**k tha Police
Public Enemy: Bring the Noise, Fight the Power, Don’t Believe the Hype
Ice Cube: The Nigga Ya Love To Hate
Will Smith: Summertime.
KRS One: MCs Act Like they Don’t Know
A Tribe Called Quest: Keeping it Moving

Reading:
Krims, A. 2000. ‘A Genre System for Rap Music’ Rap Music and the Poetics of Identity,
Cambridge University Press, pp. 46-92.

Further Reading:
Light, A. 1999. The Vibe History of Hip Hop. New York: Three Rivers Press.
Nuzum, E. 2001. Parental Advisory: Music Censorship in America.
Powell, K. 2002. Who Shot Ya? Three decades of hiphop. New York: HarperCollins.

8
Themes:
• Roots, origins, geographical and cultural features
• Hip-Hop culture versus rap
• Censorship
• Flow
• Race, class, misogyny, and identity
• Definition of Hip-hop genres

Seminar Task: Categorisation of various hip-hop tracks using Krims’ genre system.

Week 10 – Hip Hop: Keeping it Real

Listening/Vieiwing
Vanilla Ice: ‘Ice Ice Baby’
Eminem: ‘Slim Shady’,
Dizzee Rascal – I Luv U, Jus’ a Rascal, Bonkers
MC Solaar: Leve-toi et Rap
La Haine, dir. Kassovitz, M. 1995.
Osdorp Posse: Een Doodgewone boerenlul, Prostitutie

Reading:
Hess, M. 2005. ‘Hip-hop Realness and the White Performer’ Critical Studies in Media
Communication, (22) 5, December, pp. 372-389

Further Reading:
Krims, A. 2000. ‘Two Cases of Localized (and Globalized) musical poetics’ Rap Music and
the Poetics of Identity, Cambridge University Press, pp. 152-197
Shuker, R. 2001. ‘My Generation: Audiences and Fans, Scenes and Subcultures’, in
Understanding Popular Music. London: Routledge, 149-54.

Themes:
• Authenticity
• Irony and multiple identities.
• Sampling and critical juxtaposition.
• Nederhop, Francophone rap and identity
• The local and the global.

Seminar Task: Discussion on local and global issues in hip hop.

Week 11 – Seminar Presentations

This session will be given over to student seminar presentations. Full assessment details
and presentation topics appear below.

Week 12 – Seminar Presentations

This session will be given over to student seminar presentations. Full assessment details
and presentation topics appear below.

9
4.2. Attendance Requirements
Students are expected to attend all teaching sessions on the courses for which they have
registered. Practical projects, rehearsals and ensemble performances are collaborative in
their nature and require full attendance. Students taking practical and performance modules
should be aware that at certain times a more intensive commitment is required which must
be balanced against other life and work commitments. You will be notified of these extra
rehearsals as far in advance as possible.

If you need to be away from classes for an extended period, it is very important that you
inform your Student Adviser, and that you complete a ‘mitigating circumstances’ form.

Please see the notes on ‘Attendance’ in the Anglia Ruskin Undergraduate Student
Handbook for full University regulations.

To be effectively prepared for a teaching session, you should:

 have completed all the set reading or other prescribed work as described in the
course handbook or as set by your lecturer
 have your own copy of the required text or other material
 bring adequate writing materials for taking notes
 be wearing appropriate clothing, especially for rehearsals and performance
workshops
 arrive mentally and physically prepared for the session

International students who are non-EEA nationals and in possession of entry

clearance/leave to remain as a student (student visa) are required to be in regular
attendance at Anglia Ruskin. Failure to do so is considered to be a breach of the immigration
regulations. From the academic year 2008/09 onwards, Anglia Ruskin is required to inform
the Border and Immigration Agency (Home Office) of significant unauthorised absences by
any student visa holders.

4.3. Attendance for Group and Collaborative Work

For modules that include collaborative practical work, especially those leading to live
performance events, there is an especial necessity for full and punctual attendance. Poor
attendance and/or engagement inevitably has a detrimental affect on the work of your fellow
students and will hinder their achievement, as well as your own.

If you are unable to attend a particular rehearsal, class or workshop you should inform your
Module Leader or the Department Administrator immediately, and in advance of the class
wherever possible. All members of staff have voicemail and email. You will then be entered
on the register as an ‘explained absence’. Failure to do this will mean that you will be
marked ‘unexplained absent’.

Absence for reasons of external work commitments, timetable clashes or time

mismanagement will not be accepted.

You should be aware that poor attendance and/or lack of commitment will inevitably affect
your ability to meet the module learning outcomes to a satisfactory standard, and
consequently your mark may be affected.

10
5. Assessment
[Note: Assessment information is provisional until approved by the External Examiner].

Your assessment comprises two pieces of work:

1. Essay (1500 words): A critical analysis of a popular musical recording of your

choice

The recording can be any coherent single piece of recorded music. However, essays should
draw on the main topics covered in the module and should apply these topics to the
recording of your choice. Essays should pay close attention to the sound of the recording in
question, as well as the social conditions that framed the recording. Students are strongly
encouraged to choose a music in which the core principles of the module can be introduced,
as well as one in which library research can be carried out. Students are encouraged to
consider the sonic structure of the recording, the generic context of the recording and the
wider cultural/economic/political/social conditions that gave rise to the recording. Details
around the biography of the artist should not constitute the main focus of the essay. Essays
should also be analytical as well as descriptive (i.e. they should answer the question “why”
and not just “what”).

Please provide a copy of the recording with your essay.

Your essay must be submitted to the Student Information Centre by Tuesday, week 13,
before 15:00 (latest).

2. A 15-minute seminar presentation to take place during week 11 or week 12. Topics
should be drawn from the list overleaf:

You should always play examples of the music you discuss to illustrate and support your
argument. You may also wish to provide handouts and/or to prepare an audiovisual
presentation.

11
 1) What elements of Bessie Smith’s voice and musical style made her an innovator?

2) Name two musicians who claim Robert Johnson as an influence and identify elements
of their style in which his influence is present?

3) Between 1914 and 1945, many blues performers participated in the Great Migration,
moving from rural areas to cities in the South, West, and North. Taking either Lonnie
Johnson (New Orleans to Chicago), T-Bone Walker (Texas to Los Angeles), Muddy
Waters (Mississippi to Chicago) or Sonny Terry (Carolina to New York City) discuss
what motivated them to move and how they adapted their music to new environments.

4) Using musical examples to support your argument, explore life for African Americans
during the Jim Crow era.

5) Using musical examples from within either Blues, Rock or Hip Hop explore the gender
stereotypes of a given historical period and geographical location.

6) Using a range of examples, discuss whether you believe that censorship of musicians
and composers is an appropriate means for maintaining morals and values in society.

7) Discuss the development of rock music during the 1950s.

8) Discuss the concept of rebellion in relation to rock music. Use musical examples to
support your argument.

9) Compare and contrast two rock songs from the 1950s and 1960s respectively.

10) Discuss the influence of either Elvis Presley, Chuck Berry, Bo Diddley, Captain
Beefheart, Jimi Hendrix, Eric Clapton or Pete Townsend.

11) Using musical examples discuss the innovative techniques of a single musician or
group drawn from the course subject areas.

12) Take any music video and discuss aspects of its narrative and structural design.

13) Take any single music video and discuss how it represents the artist(s) that feature in
it.

14) Discuss the impact of the viral video on the marketing and promotion of artists.

15) Does Hip Hop promote violence?

16) Compare and contrast Hip Hop tracks from the 1980s, 1990s and 2000s respectively.

17) Using various examples, identify the stylistic features of ‘gangsta’ rap.

18) Discuss the use of humour and/or irony in any single Hip Hop track.

19) Compare and contrast two recordings of the same song.

20) Discuss the concept of authenticity in relation to an artist or group of your choice.

You may also choose a topic of your own, but it must be related to the themes discussed
during the module and must be agreed with the module tutor by week 4.

12
5.1 Feedback
You are entitled to written feedback on your performance for all your assessed work. For all
assessment tasks which are not examinations, this is provided by a member of academic
staff completing the assignment coversheet on which your mark and feedback will relate to
the achievement of the module’s intended learning outcomes and the assessment criteria
you were given for the task when it was first issued.

Anglia Ruskin is committed to providing you with feedback on all assessed work within 20
working days of the submission deadline or the date of an examination. This is extended to
30 days for feedback for a Major Project module (please note that working days excludes
those days when Anglia Ruskin University is officially closed; e.g.: between Christmas and
New Year).

At the main Anglia Ruskin University campuses, each Faculty will publish details of the
arrangement for the return of your assessed work (e.g.: a marked essay or case study etc.).
Any work which is not collected by you from the Faculty within this timeframe is returned to
the iCentres from where you can subsequently collect it. The iCentres retain student work
for a specified period prior to its disposal.

To assure ourselves that our marking processes are comparable with other universities in
the UK, Anglia Ruskin provides samples of student assessed work to external examiners as
a routine part of our marking processes. External examiners are experienced academic staff
from other universities who scrutinise your work and provide Anglia Ruskin academic staff
with feedback and advice. Many of Anglia Ruskin’s staff act as external examiners at other
universities.

On occasion, you will receive feedback and marks for pieces of work that you completed in
the earlier stages of the module. We provide you with this feedback as part of the learning
experience and to help you prepare for other assessment tasks that you have still to
complete. It is important to note that, in these cases, the marks for these pieces of work are
unconfirmed as the processes described above for the use of external examiners will not
have been completed. This means that, potentially, marks can change, in either
direction! Marks for modules and individual pieces of work become confirmed on the Dates
for the Official Publication of Results, which can be checked at www.anglia.ac.uk/results.

6. Assessment Criteria and Marking Standards

6.1 Anglia Ruskin University Generic Assessment Criteria
Please consult your student pathway handbook for details about Anglia Ruskin’s generic
assessment criteria and policy. This information can also be found under the Student section
of ANET.

6.2 Module Specific Assessment Criteria

In addition to Anglia Ruskin’s generic assessment criteria, your work will also be marked
against module-specific assessment criteria. Assessment tasks for this module will be
marked against the marking criteria for Oral Presentation and Written Work, which are
also available under the ‘Student Resources’ section of the departmental web site at:
www.anglia.ac.uk/mpa.

13
Oral Presentation

First Class [80%-100%]

Upper first-class work is characterised by an outstanding degree of independent research

and distinctive originality. Work of this standard is in full command of its topic and capable of
overturning orthodox positions or received opinion with strikingly new analyses or innovative
creation. Upper first-class work is rare and exceptional; it will be a sustained demonstration
of intellectual rigour, technical excellence, creative and imaginative flair and the highest
standards of achievement and research proper to the field of study.

Work at this level is exceptional and displays consistent deployment of all qualities
discussed here. The work is comparable to existing exemplars of the repertoire or displays
outstanding originality. Work of this standard far exceeds module learning outcomes and
will display some or all of the following characteristics:

• Exemplary in-depth research, demonstrating a commanding knowledge of all

relevant sources, assimilated into a highly articulate and original argument, entirely
appropriate to the audience and task
• Compelling and sharply focused analysis, exemplary structural clarity and well-
chosen evidence marshalled to substantiate all points
• Expert and confident delivery, with a high level of interaction with the
audience. Body language and eye contact used to establish a rapport with audience,
pace varied and adroitly manipulated, audibility levels appropriate throughout
• Clarity ensured by expertly judged 'signposting’; opening remarks define the task
and encourage the highest level of audience engagement; conclusion
rearticulates all major strands of argument, with relevant areas for further exploration
clearly signalled
• Follow-up questions from audience easily answered clearly and concisely, drawing
on additional advanced knowledge and/or evidence
• Any printed material provided is exceptionally interesting and highly apposite, fully
integrated into and essential to the presentation and/or skills of the highest level are
demonstrated in the use of audio-visual equipment.
________________________________________________________________________

First Class [70%-79%]

First-class work is characterised by independent learning and freshness of approach. Work

of this standard fully explores the topic and is not afraid to challenge orthodox positions or
received opinion where relevant. First-class work is outstanding and displays a selection or
combination of the qualities of intellectual rigour, technical excellence, creative and
imaginative flair and very high standards of achievement and research proper to the field of
study.

Work at this level displays a sophisticated level of engagement with the material and
substantial attainment and expansion of pathway and module learning outcomes. Work at
this level will display some or all of the following characteristics:

• Excellent in-depth research, demonstrating an intelligent engagement with major

relevant sources, assimilated into a highly articulate argument of some
originality, suitably pitched to the audience and apposite to the task
• A convincing and focused analysis, very clearly structured with well-chosen
evidence selected to substantiate all major points
• Confident delivery that holds the audience's attention throughout. Body language
and eye contact are engaging, pace is expertly judged and a proper audibility
14
 level maintained
• Clarity ensured by careful ‘signposting’; opening remarks invite audience
engagement with the task; concluding remarks rearticulate the progress of the
argument and/or identify areas for future exploration
• Follow-up questions from audience are clearly and concisely answered, drawing
intelligently on additional knowledge and/or evidence
• Any printed material provided is highly relevant and well integrated into the
presentation and/or high-level skills are demonstrated in using audio-visual
equipment.
________________________________________________________________________

Upper Second Class [60%-69%]

Work in this class demonstrates some of the qualities that define First Class work but not in
as sustained a manner. An Upper Second Class mark denotes very good work, but it is not
intellectually, practically or creatively outstanding.

A criterion often used to distinguish Upper Second from Lower Second work is the quality
and extent of detailed attention to the primary works studied on the module. An abstract or
generalised piece of work must be of very high quality to gain an Upper Second mark.

Work at this level will display clear engagement with course aims and substantial attainment
of learning outcomes and will display some or all of the following characteristics:

• Very good research, demonstrating a familiarity with major relevant sources,

assembled into an articulate argument, appropriate to the audience and task
• Intelligent analysis, well-structured with evidence provided to substantiate most major
points
• Competent delivery throughout, with open body language, eye contact maintained,
pace well-judged and audibility level sustained
• Careful ‘signposting’ to aid clarity, opening remarks engage attention and conclusion
revisits argument presented, with some areas for future exploration indicated
• Ability to respond to follow-up questions from audience clearly, drawing on some
additional knowledge and/or evidence
• Any printed material provided is relevant and useful and/or very good skills in using
audio-visual equipment are demonstrated.
________________________________________________________________________

Lower Second Class [50%-59%]

Work in this class is of average to good, and not merely passing, Honours standard.

Work at this level will display acceptable engagement with course aims and satisfactory
attainment of learning outcomes, and will display some or all of the following characteristics:

• Evidence of some research and familiarity with relevant sources, although points
presented are largely derived from secondary materials; some points key to the task
are omitted or underdeveloped
• Reasonable and simply structured analysis, with some evidence cited
to substantiate major points
• Adequate delivery, although sometimes lacking full awareness of body language; eye
contact not always sustained; pace may occasionally be too rapid or too slow;
audibility level may sometimes slip
• Some ‘signposting’ to aid clarity, but opening and/or concluding remarks may
15
 lack precision or slip into generalities not entirely relevant to the task
• Reasonable responses to follow-up questions from audience, but largely drawing
upon knowledge and/or evidence already cited in the presentation
• Any printed material provided is satisfactory and/or competence is demonstrated in
using audio-visual equipment.
________________________________________________________________________

Third Class [40%-49%]

Although weak, Third Class work is of passing Honours standard and should not be
confused with failed work. There is little engagement with course aims and limited
attainment of learning outcomes.

Work at this level will display some, or all, of the characteristics listed here.

•Very limited evidence of useful research or familiarity with relevant sources, relying
heavily instead on summary or paraphrase; many points key to the task
are omitted or seriously underdeveloped
• Limited or unreliable analysis, with little evidence available to substantiate assertions
• Weak delivery, with closed body language, little eye contact, inability to judge pace
and/or level of audibility;
• Struggles to attain clarity; little or no ‘signposting’; little attention paid to style or
content of opening and/or concluding remarks
• Rudimentary responses to follow-up questions from audience, revealing difficulties
dealing with 'live' queries and/or shallow knowledge of relevant topics
• Any printed material provided is of dubious quality or relevance and/or incorrectly
presented; audio-visual equipment is not used to relevant effect and/or operated
without full competence.
________________________________________________________________________

Fail [30%-39%]

Although inadequate at degree level, work within the mark range of 30%-39% qualifies as a
marginal Fail. Wok at this level displays little or no engagement with course aims and failure
to attain most learning outcomes. The 30%-39% range is used carefully to indicate the
extent of the failure and the work’s closeness to being of passing quality. In some
circumstances, compensation rules may apply (i.e. resubmission of work or retaking the
module may not be obligatory).

•Negligible evidence of research, failing to establish any sense of familiarity

with relevant sources; most points key to the task are seriously underdeveloped or
omitted
• Feeble analysis, with no evidence offered to substantiate assertions
• Inadequate delivery, with little sense of the effect of closed body language, lack
of eye contact, poorly judged pace and/or inaudibility
• Sustained lack of clarity; ‘signposting’ omitted; no sense of opening, progression or
closure within the presentation
• Poor responses to follow-up questions from audience, revealing inability to deal with
'live' queries and/or very weak knowledge of relevant topics
• Any printed material provided is of poor quality or very limited relevance
and/or presented with serious flaws; audio-visual equipment is incompetently
operated and/or used merely eke out time during a very thin presentation.
________________________________________________________________________

16
Fail [0%-29%]

Work within the range 0%-29% is very weak and clearly fails to reach degree standard.
Typically, course aims are ignored and no attempt is made to attain any learning outcomes
A mark of 0% will usually denote a failure to submit work at all. Work within this range
cannot be compensated. Depending on individual circumstances and the requirements of
the module, failed work at this level must either be resubmitted or the module retaken.

Failed work at this level will show some, or all, of the serious weaknesses listed here.

• No evidence of research or knowledge of relevant sources; disregard of the task,

omitting all key points
• No relevant analysis or evidence offered to substantiate assertions that are largely
inaccurate or misleading
• Bad delivery, lacking all sense of the effect of closed body language; no attempt
at making eye contact; ill-judged or erratic pace and/or inaudibility
• Sustained confusion or illogicality; no sense of opening, progression or closure within
the presentation
• Unable to respond to follow-up questions from audience, revealing disabling inability
to deal with 'live' queries and/or ignorance of relevant topics
• Any printed material provided is misunderstood, lacks relevance or is
seriously misrepresented; audio-visual equipment is incompetently operated and/or
used merely waste time during an unprepared presentation.
________________________________________________________________________

Written Work

First Class [80%-100%]

Upper first-class work is characterised by an outstanding degree of independent research

and distinctive originality. Work of this standard is in full command of its topic and capable of
overturning orthodox positions or received opinion with strikingly new analyses or innovative
creation. Upper first-class work is rare and exceptional; it will be a sustained demonstration
of intellectual rigour, technical excellence, creative and imaginative flair and the highest
standards of achievement and research proper to the field of study.

Work at this level is comparable to existing exemplars of the repertoire or displays

outstanding originality. Work of this standard far exceeds module learning outcomes and will
display some or all of the following characteristics:

• Compelling analysis demonstrating complete command of the topic

• Outstanding originality, capable of overturning received opinion, where relevant
• Sharp focus on the full implications of the question asked, with a sophisticated and
comprehensive awareness of associated problematic issues
• Effectively structured and convincing argument
• Command of relevant theory and/or critical context, fully supported with detailed
evidence properly referenced
• Persuasive and highly articulate use of written English.
______________________________________________________________________

First Class [70%-79%]

First-class work is characterised by independent learning and freshness of approach. Work

of this standard fully explores the topic and is not afraid to challenge orthodox positions or

17
received opinion where relevant. First-class work is outstanding and displays a selection or
combination of the qualities of intellectual rigour, technical excellence, creative and
imaginative flair and very high standards of achievement and research proper to the field of
study.

Work at this level displays a sophisticated level of engagement with the material and
substantial attainment and expansion of pathway and module learning outcomes. Work at
this level will display some or all of the following characteristics:

• A penetrating level of analysis fluently at ease with the topic

• Originality of approach and the ability to challenge received opinions, where relevant
• Focus on the full implications of the question asked and an intelligent awareness of
associated problematic issues
• Careful organisation and cogent, progressive argument
• Wide knowledge of relevant theory and/or critical context, well supported by detailed
evidence properly referenced
• Clear, articulate and effective use of written English.
______________________________________________________________________

Upper Second Class [60%-69%]

Work in this class demonstrates some of the qualities that define First Class work but not in
as sustained a manner. An Upper Second Class mark denotes very good work, but it is not
intellectually, practically or creatively outstanding. A criterion often used to distinguish Upper
Second from Lower Second work is the quality and extent of detailed attention to the primary
works studied on the module. An abstract or generalised piece of work must be of very high
quality to gain an Upper Second mark.

Work at this level will display clear engagement with course aims and substantial attainment
of learning outcomes and will display some or all of the following characteristics:

• Good powers of analysis, systematically deployed

• A thorough and intelligent treatment of the topic
• An accurate and sustained focus on the main implications of the question
• Clear organisation and a well-developed argument
• Good knowledge of relevant theory and/or critical context, supported with evidence,
adequately referenced
• Literate, clear use of written English
______________________________________________________________________

Lower Second Class [50%-59%]

Work in this class is of average to good, and not merely passing, Honours standard.
Work at this level will display acceptable engagement with course aims and satisfactory
attainment of learning outcomes, and will display some or all of the following characteristics:

• Reasonable powers of analysis, but sometimes over-generalised or unfocused

• A sound treatment of the topic, but omitting some key points
• A partial answer to the question
• An argument advanced, but largely derived from secondary sources
• Adequate knowledge of relevant theory and/or critical context, although supporting
evidence offered is insufficiently detailed and/or inconsistently referenced
• Satisfactory, but sometimes imprecise, use of written English.
______________________________________________________________________

18
Third Class [40%-49%]

Although weak, Third Class work is of passing Honours standard and should not be
confused with failed work. There is little engagement with course aims and limited
attainment of learning outcomes. Work at this level will display some, or all, of the
characteristics listed here:

• Limited powers of intellectual analysis

• An inadequate focus on the topic, omitting many key points
• An evasive or poorly directed address to the question
• An underdeveloped argument, with a heavy reliance on paraphrase or summary
• Limited knowledge of relevant theory and/or critical context, with assertions
insufficiently substantiated by evidence
• Pedestrian, repetitious or inaccurate use of written English
______________________________________________________________________

Fail [30%-39%]

Although inadequate at degree level, work within the mark range of 30%-39% qualifies as a
marginal Fail. Work at this level displays little or no engagement with course aims and failure
to attain most learning outcomes. The 30%-39% range is used carefully to indicate the
extent of the failure and the work’s closeness to being of passing quality. In some
circumstances, compensation rules may apply (i.e. resubmission of work or retaking the
module may not be obligatory). Work at this level will display some, or all, of the
characteristics listed here:

• Negligible or feeble powers of critical analysis

• A lack of focus on the question asked, omitting most key points
• A failure to answer or misunderstanding of the question
• Little developed argument, marred by fallacies and/or confused organisation
• Poor knowledge of relevant theory and/or critical context, with unsupported and/or
dubious assertions
• Ineffective use of written English, with many errors in syntax, spelling, word choice
and punctuation.
______________________________________________________________________

Fail [0%-29%]

Work within the range 0%-29% is very weak and clearly fails to reach degree standard.
Typically, course aims are ignored and no attempt is made to attain any learning outcomes.
A mark of 0% will usually denote a failure to submit work at all. Work within this range
cannot be compensated. Depending on individual circumstances and the requirements of
the module, failed work at this level must either be resubmitted or the module retaken. Failed
work at this level will show some, or all, of the serious weaknesses listed here:

• No evidence of critical analysis

• Disregard of the question asked, omitting all key points
• No attempt made to answer the question and/or extensive misunderstanding of its
implications
• No argument advanced. The majority of the work will be illogical, incoherent and
confused
• No knowledge of relevant theory and/or critical context, with inaccurate assertions
• Poor use of written English, with incoherent syntax, extensive spelling mistakes,
confused work choices and incorrect punctuation.

19
7. Assessment Offences
You are reminded that any work that you submit must be your own. All suspected
assessment offences will be investigated and can result in severe penalties. Please note
that it is your responsibility to consult the relevant sections of the Academic Regulations
(section 10 – see www.anglia.ac.uk/academicregs) and the Student Handbook.

When you are preparing your work for submission, it is important that you understand the
various academic conventions that you are expected to follow in order to make sure that you
do not leave yourself open to accusations of plagiarism (eg: the correct use of referencing,
citations, footnotes etc.) and that your work maintains its academic integrity.

Plagiarism is theft and constitutes the presentation of another’s work as your own in order to
gain an unfair advantage. You will receive advice and guidance on how to avoid plagiarism
and other elements of poor academic practice during the early stages of your studies at
Anglia Ruskin.

A Guide to Academic Integrity and Good Academic Practice

A primary purpose of a University education is to instil in each student an understanding of,

and a capacity for scholarship, independent judgment, academic rigour, and intellectual
honesty.

It is the joint responsibility of university teachers, support staff and students to work together
to foster these ends through relationships which encourage freedom of inquiry, demonstrate
personal and professional integrity, and foster mutual respect.

Good academic practice refers to the process of completing your academic work
independently, honestly and in an appropriate academic style, using good referencing and
acknowledging all of your sources.

To demonstrate good academic practice you must:

• develop your own independent evaluation of academic issues;

• draw upon research from academics in your field of study;
• discuss and evaluate existing concepts and theories;
• demonstrate your understanding of the key literature;
• develop your own arguments.

To support your own good academic practice you will need to develop:

• study and information skills (eg. reading, note-taking, research etc);

• skills of critical enquiry and evaluation (eg. taking a balanced opinion, using reasoning
and argument);
• appropriate academic writing skills (eg. for essays, reports, dissertations etc);
• referencing skills;
• examination techniques (eg. preparation and timing etc).

Achieving good academic practice is not as complicated as it may appear. In a nutshell, you
need to:

• know the rules;

• make sure you reference all sources.

20
Poor academic practice or academic dishonesty (plagiarism, cheating, fraud etc.) is
sometimes caused by insecurity as to what is expected and what is allowed. If you are in
any doubt you should talk to a librarian and/or your module or personal tutor.

Our Expectations of Students

The Student Charter (http://web.anglia.ac.uk/anet/students/pdfs/ 11473_Charter_16ppA5.pdf)

requires you to ‘be aware of the academic rules relating to your studies’, p9). We expect you
to agree that you will:

i) ensure that you are familiar with the academic conventions regarding the citing
(acknowledgement, referencing) of the work of others (see, for assistance,
http://libweb.anglia.ac.uk/referencing/referencing.htm);
ii) only hand in your own original work for assessment;
iii) correctly reference all the sources for the information you have included in your work;
iv) identify information you have downloaded from the internet;
v) never use another student’s work as if it were your own work;
vi) never use someone else’s artwork, pictures or graphics (including graphs,
spreadsheets etc. and information from the internet) as if they were made by you;
vii) never let other students use or copy from your work;
viii) work through ‘PILOT’, the online tutorial available on the University library website
(http://libweb.anglia.ac.uk/pilot/). PILOT addresses a number of study skills which will
help you develop good academic practice.

8. Learning Resources
8.1. Recommended Texts
Banks, J. 1996. Monopoly Television: MTV's Quest to Control the Music, Westview Press.
Beebe, R., Fulbrook, D. and B. Saunders, B. eds. 2002. Rock over the Edge, Duke
University Press.
Bennett, A. Shank, B. and Toynbee, J. eds. (2006) Popular Music Studies Reader. London:
Routledge.
Bertrand, M. T. 2000. Race, Rock, and Elvis. University of Illinois Press.
Brackett, D. ed. 2009. The Pop, Rock, and Soul Reader: Histories and Debates, New York:
Oxford University Press
Chang, J. (2005) Can't Stop Won't Stop: A History of the Hip Hop Generation. St. Martin’s
Press.
Cloonan, M. and Garofalo, R. eds. 2003. Policing Pop, Philadelphia: Temple University
Press.
Covach, J. 2006. What’s That Sound? An Introduction to Rock and Its History. W. W. Norton
& Company.
Davis, F. 2003. The History of the Blues: The Roots, the Music, the People. Da Capo Press.
Denisoff, R. S. 1991. Inside MTV, New Brunswick: Transaction publishers.
DeNora, T. 2000. Music in Everyday Life. Cambridge: Cambridge University Press.
Evans, D. 1971 Big Road Blues: Tradition and Creativity in the Folk Blues, Berkeley
California University Press.
Frith, S.Straw, W. and Street, J. 2001. The Cambridge Companion to Pop and Rock,
Cambridge University Press.
Garofalo, R. 2008. Rockin’ out: popular music in the USA, NJ: Pearson Prentice Hall.
Goodwin, A. and Grossberg, L. 1992. Sound and Vision: the Music Video Reader.
Goodwin, A. 1992. Dancing in the Distraction Factory: Music Television and Popular Culture,
University of Minnesota Press.
Hesmondhalgh, D.Negus, K. eds. 2002. Popular Music Studies, London: Arnold.
Hess, M. 2005. ‘Hip-hop Realness and the White Performer’ Critical Studies in Media
21
 Communication, (22) 5, December, pp. 372 -389
Jones, le R. 1963. Blues People: The Negro Experience in White America and the Music
that Developed From it, New York: William Morrow and Company.
Korpe, M. ed. 2004. Shoot the Singer: Music Censorship Today, New York: Zed Books.
Krims, A. 2000. Rap Music and the Poetics of Identity. Cambridge University Press.
Leach, E. E. 2008. ‘Popular Music’, in Harper-Scott, J.P.E. and Samson, J. eds. An
Introduction to Music Studies, Cambridge University Press, pp. 188-199.
Light, A. 1999. The Vibe History of Hip Hop. New York: Three Rivers Press.
Longhurst, B. 2007. Popular Music and Society. Cambridge: Polity Press.
McClary, S. 2003. ‘Bessie Smith: Thinking Blues', in Bull, M. and Back, L. eds. The Auditory
Culture Reader, Oxford: Berg, pp. 427-34.
Mercer, K. ‘Monster Metaphors: Notes on Michael Jackson’s Thriller’ in Frith, S. Goodwin, A
and Grossberg, L. eds. London: Routledge, pp. 93-108.
Middleton, R. 2000. Reading Pop: Approaches to Textual Analysis in Popular Music, Oxford
University Press.
Moore, A. 2002. The Cambridge Companion to Blues and Gospel Music, Cambridge
University Press.
Negus, K. 1999. Music Genres and Corporate Cultures, New York: Routledge.
Nuzum, E. 2001. Parental Advisory: Music Censorship in America
Oakley, G. 1976. The Devil’s Music: A History of the Blues, London: BBC.
Oliver, P. 1998, The Story of the Blues, Boston: Northeastern.
Peterson, R. A. 1990. ‘Why 1955? Explaining the Advent of Rock Music’ in Popular Music,
(9) 1, pp. 97-116.
Powell, K. 2002. Who Shot Ya? Three Decades of Hiphop. New York: HarperCollins
Roebuck, G. 2006. Finding Robert Johnson, Virginia Beach, VA: Earmark.
Shuker, R. 2001. Understanding Popular Music, London: Routledge
Shuker, R. 2005. Popular Music: The Key Concepts. London: Routledge.
Taylor, T. D. 2000. ‘His name was in Lights: Chuck Berry’s Johnny B. Goode’ in Middleton
R. ed. Reading Pop: Approaches to Textual Analysis in Popular Music, Oxford
University Press, pp. 163-182.
Toynbee, J. 2000. ‘Genre-Cultures’, in Making Popular Music: Musicians, Creativity and
Institutions, London: Arnold, 102-29.
Vernallis. C. 2004. Experiencing Music Video: Aesthetic and Cultural Context, New York:
Columbia University Press.
Wald, E. 2005. Escaping the Delta: Robert Johnson and the Invention of the Blues.
HarperCollins.
Whiteley, S. 2000. ‘Progressive Rock and Psychedelic Coding in the Work of Jimi Hendrix’
Reading Pop. Approaches to Textual Analysis in Popular Music, pp. 235-261.
Williams, K. 2003. Why I Still Want My MTV: Music Video and Aesthetic Communication.
Cresskill, New Jersey: Hampton.
Winterson, J. Nickol, P. and Bricheno, T. 2003. Pop Music: The Text Book, London: Peters
Edition.

8.2. Recommended Internet Resources

http://www.iaspm.net/
http://www.robertjohnsonbluesfoundation.org
http://www.history-of-rock.com/
http://www.mtv.com/
http://www.rapdict.org/Main_Page
http://www.deltabluesmuseum.org/

22
8.3. Recommended Listening/Viewing

La Haine, dir. Kassovitz, M. 1995.

The Blackboard Jungle, dir. R. Brooks, 1955.

Adam Ant: Stand and Deliver

Aha: Take on Me
Bjork: Triumph of a Heart
Captain Beefheart – Electricity
Chuck Berry: Roll Over Beethoven
Big Bill Broonzy: When Will I Get to Be Called a Man.
Bronski Beat: Smalltown Boy
The Buggles: Video Killed the Radio Star
Eddie Cochran: C’mon Everybody
Cream – White Room
Bo Diddley: Bo Diddley
Eminem: ‘Slim Shady’,
Public Enemy: Bring the Noise, Fight the Power, Don’t Believe the Hype
Bill Haley and the Comets – Rock Around the Clock
Jimi Hendrix – Star Spangled Banner, Hey Joe, Purple Haze
Ice Cube: The Nigga Ya Love To Hate
Incubus: Warning
Michael Jackson: Thriller
Robert Johnson: Come on in My Kitchen, Terraplane Blues, Ramblin’ on my Mind, Love in
Vain Blues, Crossroads.
B.B. King – Three O’Clock Blues, The Thrill is Gone, Everything I Do is Wrong.
The Kinks: Waterloo Sunset
KRS One: MCs Act Like they Don’t Know
Cindi Lauper: Girls Just Wanna Have Fun
Jerry Lee Lewis: Great Balls of Fire
Madonna: Cherish
Mammie Smith: Crazy Blues
Metallica: Enter Sandman
Rick Nelson: I’m Walkin’
NWA: Straight Outta Compton, F**k tha Police
OK Go: A Million Ways, Here it Goes Again
Osdorp Posse: Een Doodgewone boerenlul, Prostitutie
Pink Floyd: Arnold Layne, See Emily Play
Elvis Presley: Mystery Train, Good Rockin’ Tonight, Heartbreak Hotel, Don’t be Cruel
Robert Palmer: Addicted to Love
Ma Rainey: Yonder Come the Blues
Dizzee Rascal – I Luv U, Jus’ a Rascal, Bonkers
The Rolling Stones: Paint it Black
Little Richard: Good Golly, Miss Molly
The Rolling Stones: Paint it Black
Bessie Smith: You’ve Got To Give Me Some, Nobody Knows When you’re Down and Out
Will Smith: Summertime.
Sugar Hill Gang: Rapper’s Delight
MC Solaar: Leve-toi et Rap
A Tribe Called Quest: Keeping it Moving
Vanilla Ice: ‘Ice Ice Baby’
Gene Vincent: Be-Bop-A-Lula
Muddy Waters – Mannish Boy, Hoochie Coochie Man,
The Who: My Generation, Substitute, Baba O’Riley

23
8.4. Other Resources
The module website is:

http://popcontext.wordpress.com

The password is: rockclock

Here you will find a range of resources to support your learning including audio example,
lecture notes and .pdf files of the module recommended reading.

24
9. Module Definition Form

Module Definition Form (MDF)

Module Code: AF115011S Version: 2 Date amended: 23.03.09

1. Module Title:

Popular Music in Context 1

2a. Module Leader: 2b. Department: 2c. Faculty:
Miguel Mera Music and Performing Arts Arts, Law and Social Sciences

3a. Level: see guidance notes 3b. Module Type:

1 Standard

4a. Credits: see guidance notes 4b. Study Hours: see guidance notes
15 150

5. Restrictions
Pre-requisites: None
Co-requisites: None
Exclusions: None
Pathways to which None
this module is
restricted:

LEARNING, TEACHING AND ASSESSMENT INFORMATION

6a. Module Description: 200 – 300 words
The purpose of this module is to provide an historical, social and cultural context for the study of
contemporary popular music. It provides the basis for the identification and consideration of a range
of styles in 20th and 21st century popular music and for the subsequent study of particular genres.
Participation in this module will enable the student to engage in informed debate about current
issues in contemporary popular music. The module encourages the recognition that the
development of music is determined by factors which often lie outside of issues of artistic
expression, and the political and social aspects of the creative environment are explored. In
considering these issues, music from a range of musical periods and cultures will be examined, in
order to place it within an appropriate historical, cultural and aesthetic framework. The module will
also respond to current trends and student interests in order to relate contextual issues to
contemporary practice. Assessment comprises an oral presentation and an essay, demonstrating
understanding of the contextual matters under investigation.
6b. Outline Content:
A range of issues will be explored, which might include emphasis upon some of the following:
• Tin Pan Alley
• Blues
• Jazz and Afro-American Music
• Hip Hop
In each area a number of designated epicentre works are chosen for study in consideration of their
appropriateness to the attainment of the learning outcomes.
25
6c. Key Texts/Literature:
• Bennett, A. Shank, B. and Toynbee, J. eds. (2006) Popular Music Studies Reader. London:
Routledge
• Chang, J. (2005) Can't Stop Won't Stop: A History of the Hip Hop Generation. St. Martin’s
Press.
• Davis, F. (2003) The History of the Blues: The Roots, the Music, the People. Da Capo Press.
• Garofalo, R. (2008) Rockin’ out: popular music in the USA, NJ: Pearson Prentice Hall.
• Krims, A. (2000) Rap Music and the Poetics of Identity. Cambridge University Press.
• Longhurst, B. (2007) Popular Music and Society. Cambridge: Polity Press.
• Shuker, R. (2005) Popular Music: The Key Concepts. London: Routledge.
• Wald, E. (2005) Escaping the Delta: Robert Johnson and the Invention of the Blues.
HarperCollins.

6d. Specialist Learning Resources:

• Library
• Internet forum.
• Journals list.
• Third-party Internet sites (as advised).
• Selection of popular music recordings.

7. Learning Outcomes (threshold standards):

On successful completion of this module the student will be expected to be
able to:
Knowledge and 5. apply levels of critical understanding to the consideration of the context of
understanding popular music within a given social environment;
6. demonstrate an enhanced awareness of the notion of ‘influence’ and
how that relates to the creative process
7. demonstrate a detailed knowledge of major theories relating to the
popular music studied and an awareness of a variety of ideas, contexts
and frameworks.
Intellectual, 8. demonstrate an ability to analyse a range of information with minimum
practical, affective guidance using given classifications/principles
and transferable
skills
8. Learning Activities
Learning Details of duration, frequency
Learning Activities Hours
Outcomes and other comments
Lectures: 12
1 hour lecture and 2 hour seminar each
Other teacher managed 24 1-4
week
learning:
Student managed learning: 114 1-4 Own-time study utilising library resources
TOTAL 150

26
9. Module Assessment
% Weighting & Qualifying
Learning Mark
Method Fine Grade (FG) Length/duration and other comments
Outcomes see guidance
or pass/fail (PF) notes
Essay 1-4 FG 50% 30 1500 words
Seminar 1,2,3 FG 50% 30 15 minutes max
Presentation

In order to pass this module, students are required to achieve an overall mark of 40%.

In addition, students are required to:

(a) achieve the qualifying mark for each element of fine graded assessment as specified
above

(b) pass any pass/fail elements

OTHER TECHNICAL DETAILS

10. Delivery of the Module Please delete as appropriate
Delivery This module is delivered over… Yes or No? Indicate which by deleting as appropriate

1 …a single semester Y Semester 1

11. Subject: see guidance notes

27
10. Report of Last Delivery of Module

This is the first delivery of this module.

28