SECTION 1

Question 1 - 10
1 violin
2 blues
3 steel
4 Frying Pan
5 magnets
6 plastic
7 solid
8 mass production
9 Precision
10 gold

Transcript
During today’s lecture in this series about the history of popular music. I’m going to look at
the different stages the electric guitar went through before we ended up with the instrument
we know so well today.

The driving force behind the invention of the electric guitar was simply the search for a louder
sound. In the late 1890s Orville Gibson, founder of the Gibson Mandolin-Guitar
Manufacturing Company, designed a guitar with an arched or. curved lop, as is found on
a violin (Q1). This made it both stronger and louder than earlier designs but it was still hard
to hear amongst other louder instruments.

During the 1920s with the beginnings of big–band music, commercial radio and the rise of the
recording industry, the need to increase the volume of the guitar became even more important.
Around 1925 John Dopyera came up with a solution. He designed a guitar, known as The
National Guitar, with a metal body which had metal resonating cones built into the top. It
produced a brash tone which became popular with guitarists who played blues (Q2) but
was unsuitable for many other types of music.

Another way of Increasing the volume was thought of in the 1930s. The C. F. Martin
Company became known for its ‘Dreadnought‘, a large flat-top acoustic guitar that used
steel (Q3) strings instead of the traditional gut ones. It was widely imitated by other
makers.

These mechanical fixes helped, but only up to a point. So guitarists began to look at the
possibilities offered by the new field of electronic amplification. What guitar players needed
was a way to separate the guitar’s sound and boost it in isolation from the rest of a band or the
surroundings.
Guitar makers and players began experimenting with electrical pickups which are the main
means of amplification used today. The first successful one was invented in 1931 by George
Beauchamp.

He introduced to the market a guitar known as The Frying Pan(Q4) because the playing
area consisted of a small round disk. The guitar was hollow and was made of aluminium and
steel. He amplified the sound by using a pair of horseshoe–shaped magnets(Q5). It was the
first commercially successful electric guitar.

So by the mid-1930s, an entirely new kind of sound was born. Yet along with its benefits, the
new technology brought problems. The traditional hollow body of a guitar caused distortion
and feedback when combined with electromagnetic pickups. Musicians and manufacturers
realised that a new kind of guitar should be designed from scratch with amplification in mind.

In 1935 Adolph Rickenbacker produced a guitar which took his name – ‘The
Rickenbacker Electro Spanish’. It was the first guitar produced in plastic (Q6), which,
because of its weight, vibrated less readily than wood. It eliminated the problems of earlier
versions which were plagued by acoustic feedback.

‘The Electro Spanish’ had its own problems, however, because it was very heavy, smaller
than other guitars of the period, and was quite awkward to play. Developments continued and
in 1941 Les Paul made a guitar which he called ‘The Log’, and true to its name, it was
totally solid(Q7). All previous guitars had been hollow or partly hollow. It looked slightly
strange but the next step had been made towards the modem electric guitar.

The first guitar successfully produced in large numbers was made in 1950 by Leo Fender.
His Spanish-style electric guitar, known as a ‘Fender Broadcaster’, had a bolt-on neck, and
was initially criticised by competitors as being very simple and lacking in craftsmanship. Yet
it was immediately successful and was particularly suited to mass production (Q8),
spurring other guitar companies to follow Fender’s lead.

In 1951 Leo Fender revolutionised the music world yet again when he produced an electric
bass guitar. This was the first commercially successful bass model to be played like a guitar.
It was easier for players to hit an exact note: that’s why it was called The Precision’.(Q9)

Although there had already been electric standup basses, this was much more portable. It is
now standard in the line-up of any rock band and some historians suggest that entire genres of
music, such as reggae and funk, could not exist without it.
In 1952 the Gibson company became Fender’s first major competitor when Ted McCarty
created The Gibson Les Paul’ guitar. It was distinctive because it was coloured
gold(Q10). The reason for this was to disguise the fact that it was made from two different
kinds of wood.

In 1954 Leo Fender responded to this successful instrument by introducing The Fender
Stratocaster’. It is easily identified by its double-cutaway design and three pickups. This
model may be the most influential electric guitar ever produced. The modern guitar as we
know it was here to stay.

SECTION 2
11 B
12 B
13 C
14 A
15 D
16 B
17 write music
18 85/eighty five
19 1 4th September/September 1 4th/September 1 4/1 4 September
20 Curtis

Information On Music Class

Teacher: Good afternoon. May I speak to Emma’s parent?
Father: Afternoon. I’m her father. Who am I speaking to?
Teacher: This is Emma’s teacher Jane Carson calling from the Art Centre.
Teacher: I’m just calling to talk about her drama class at the centre.
Father: Oh, thank you for calling. How’s Emma doing in drama class?
Father: You know she just transferred here last month, unlike the others in her class who have
been taking the course the whole semester since June.
Father: So I’m a bit worried that she might not fit in so well.
Teacher: There’s no need to worry. She exhibits a strong performance in her drama class.
Father: Is that so?
Teacher: Yes. She didn’t adapt to the new environment as quickly as I originally
expected, and seemed a bit shy at first.
Teacher: But a few days later, she made a couple of friends and became more talkative and
also more involved in class.
Teacher: Emma really is a role model for others, because she has always been an active
participant (Q11)
Teacher: She voices her own ideas and is very creative.
Father: I didn’t expect that. But I can tell that she really enjoys the course,
Father: because she’s been talking about it at home frequently these past few weeks.
Teacher: That’s great to hear. Interest is always the best teacher.
Teacher: I also have to inform you that there’s been an adjustment in the timetable of the
drama class next term.
Father: Why is that?
Teacher: It’s not that the music room that we currently use isn’t available.
Teacher: As there are too many enrolling for the coming semester, increased class size
means that space is limited to house the whole class. (Q12)
Teacher: Also the new classroom we use is not available during the current timeframe, so I’m
afraid we have to change the time for it.
Father: I see. So when would it be?
Teacher: As you know, the current class begins at three fifteen.
Teacher: But the new time of thedrama class would be a quarter to five. (Q13)
Father: I’m afraid I have errands to run during that time.
Teacher: On the other campus the class still begins at three fifteen, but for the campus Emma
goes to, it is the only time available for drama class.
Father: Oh. I see. I have to make adjustments to my chore schedule then. No problem.
Father: Miss Carson, I’m thinking about signing Emma up for another art course.
Father: I’m thinking about dance class.
Teacher: Dance class is a popular course here, a great choice for a child to shape up and have
fun.
Teacher: But unfortunately, it is over-subscribed at the moment. (Q14)
Teacher: I have to put you on the waiting list.
Father: That’s too bad. What else can I choose from then? Could you give me some advice?
Teacher: Sure. Emma could take singing class as well. This would improve her musicality.
Father: Sounds good. When is that?
Teacher: It is held every Friday evening.
Father: That’s too bad.
Father: Emma already has a swimming class earlier that evening. (Q15)
Father: It will be too late for her to come home if she takes this course.
Teacher: There is also a vocal course available.
Teacher: Emma’s got a great voice, I’m sure she’ll stand out in the class.
Father: Tell me about it.
Teacher: The vocal course starts at 4.30 pm every Tuesday.
Teacher: It isn’t fully booked yet. Great teacher, experienced and beloved by students.
Teacher: The price is a bit higher though.
Father: How much is it?
Teacher: It’s 110 dollars.
Father: Oh, that’s too much, way over our budget. (Q16)
Father: We have to cover the extra cost if we choose it.
Teacher: Or maybe Emma could take music class.
Father: What is it about? Learning about songs and musicals?
Teacher: Well, the students have the opportunity to play different instruments like the
piano, drum and so on.
Teacher: They can also learn how to write music (Q17) under professional guidance.
Father: That’s exactly what Emma is eager to learn. How much would it cost?
Teacher: It was 63 dollars last term.
Teacher: But this term it is 85 dollars (Q18), 22 dollars more than the original price.
Father: We can afford that. When does the course begin?
Teacher: The course starts on September 7th.
Father: Can we start one week later, on September 14th?(Q19)
Father: My daughter will be on a trip to France with her Mom on the 7th.
Teacher: No problem. And the teacher for the class is Jamal Curtis.
Teacher: Just contact him if you have any further questions regarding the course.
Father: Jamal Curtis? How do you spell Curtis?
Teacher: Oh, it’s C-U-R-T-I-S.(Q20)
Father:
Thank you.

SECTION 3
SUPERVISOR:      Hi, Joanna, good to meet you. Now, before we discuss your new research
project. I’d like to hear something about the psychology study you did last year for your
Master’s degree. So how did you choose your subjects for that?
JOANNA:             Well, I had six subjects, all professional musicians, and all female. There
were violinists and there was also a cello player and a pianist and a flute player. They were all
very highly regarded in the music world and they’d done quite extensive tours in different
continents (Q21&Q22), and quite a few had won prizes and competitions as well.
SUPERVISOR:      And they were quite young, weren’t they?
JOANNA:             Yes, between 25 and 29 – the mean was 27.8. I wasn’t specifically look
for artists who’d produced recordings, but this is something that’s just taken for
granted these days, and they all had. (Q21&Q22)
SUPERVISOR:      Right. Now you collected your data through telephone interviews, didn’t
you?
JOANNA:             Yes. I realised if I was going to interview leading musicians it’s only be
possible over the phone because they’re so busy (Q23&Q24). I recorded them using a
telephone recording adaptor. I’d been worried about the quality, but it worked out all right. I
managed at least a 30-minute interview with each subject, sometimes longer.
SUPERVISOR:      Did doing it on the phone make it more stressful?
JOANNA:             I’d thought it might … it was all quite informal though and in fact they
seemed very keen to talk. And I don’t think using the phone meant I got less rich data
rather the opposite in fact. (Q23&Q24)
SUPERVISOR:      Interesting. And you were looking at how performers dress for concert
performances?
JOANNA:             That’s right. My research investigated the way players see their role as a
musician and how this is linked to the type of clothing they decide to wear. But that focus
didn’t emerge immediately. When I started I was more interested in trying to investigate
the impact of what was worn on those listening (Q25&Q26), and also whether someone
like a violinist might adopt a different style of clothing from, say, someone playing the
flute or the trumpet (Q25&Q26).
SUPERVISOR:      It’s interesting that the choice of dress is up to the individual, isn’t it?
JOANNA:             Yes, you’d expect there to be rules about it in orchestras, but that’s quite
rare.
——————————
SUPERVISOR:      You only had women performers in your study. Was that because male
musicians are less worried about fashion?
JOANNA:             I think a lot of the men are very much influenced by fashion, but in social
terms the choices they have are more limited … they’d really upset audiences if they
strayed away from quite narrow boundaries. (Q27)
SUPERVISOR:      Hmm. Now, popular music has quite different expectations. Did you read
Mike Frost’s article about the dress of women performers in popular music?
JOANNA:             No.
SUPERVISOR:      He points out that a lot of female singers and musicians in popular music
tend to dress down in performances, and wear less feminine clothes, like jeans instead of
skirts, and he suggests this is because otherwise they’d just be discounted as trivial. (Q28)
JOANNA:             But you could argue they’re just wearing what’s practical … I mean, a
pop-music concert is usually a pretty energetic affair.
SUPERVISOR:      Yes, he doesn’t make that point, but I think you’re probably right. I was
interested by the effect of the audience at a musical performance when it came to the choice
of dress.
JOANNA:             The subjects I interviewed felt this was really important. It’s all to do with
what we understand by performance as a public event. They believed the audience had
certain expectations and it was up to them as performers to fulfil these expectations to
show a kind of esteem … (Q29)
SUPERVISOR:      … they weren’t afraid of looking as if they’d made an effort to look good.
JOANNA:             Mmm. I think in the past the audience would have had those expectation of
one another too, but that’s not really the case now, not in the UK anyway.
SUPERVISOR:      No.
JOANNA:             And I also got interested in what sports scientists are doing too, with regard
to clothing.
SUPERVISOR:      Musicians are quite vulnerable physically, aren’t they, because the
movements they carry out are very intensive and repetitive, so I’d imagine some features of
sports clothing could safeguard the players from the potentially dangerous effects of this
sort of thing. (Q30)
JOANNA:             Yes, but musicians don’t really consider it. They avoid clothing that
obviously restricts their movements, but that’s as far as they go.
SUPERVISOR:      Anyway, coming back to your own research, do you have any idea where
you’re going from here?
JOANNA:             I was thinking of doing a study using an audience, including ..     

SECTION 4

31 factories
32 immigration
33 industries
34 language
35 jobs
36 young
37 audiences
38 middle class
39 classical
40 recordings

Today we're going to delve into the fascinating history of music in britain and the evolution
that it experienced throughout the duration of the 18th and 19th centuries. During the second
half of the 18th century, britain experienced an industrial revolution. During which, its
manufacturing industry underwent a major transition from hand production methods to the
use of machinery. This sudden boom in the industry drew thousands of people into the
cities where they knew they'd be able to find jobs in the factories (Q31), working with or
maintaining the machinery. This sudden influx of people into the cities did not just come from
the surrounding countryside but also from other poorer nations in search of a better life.
Between 1800 and 1900, the population of england increased by four times. This mass
immigration (Q32) from different nations and areas of the country resulted in a variety of
cultural influences meeting and mixing to form a new more diverse culture. With this new
culture came a new style of music, prior to the industrial revolution, music had originally
been written to reflect the hard labor-intensive life in all kinds of industries (Q33) when
all work had to be done by hand. Most people resided in small rural communities where their
lives revolved around farming. Life for the average person was difficult as incomes were
omega and malnourishment and disease were common. Despite the difference in
nationalities of the people and the variety of musical genres, all of the music shared one
common language (Q34) english as many were unable to write. The songs were a means
for the people to give voice to their experiences and feelings about their hard and laborious
jobs (Q35). Most of the music written by the workers during this period has been lost as a
result of illiteracy and the wear of time . Now you may be asking yourselves how these small
musical works were formed. The roots of most of these groups can mostly be traced back to
the younger members of the working classes who were perhaps rebelling against the
inferiority of their living and working conditions compared to those of the upper classes.
Young (Q36) performers would often lead these musical trends usually possessing a
great talent for singing or playing particular handmade instruments. As time progressed
into the 19th century, these musical groups had gained much notoriety and would hold small
performances in the street for all to watch. It was perhaps their blind optimism and rebellious
spirit that led them to become so popular with their audiences(Q37) which were usually
made up of the poorest of the poor. Despite efforts by the upper classes to put an end to these
musical traditions, they continued to gain popularity and flourish. By the late 1870s, they
had evolved past the barrier of the social echelons and gained access to the middle class
(Q38). Performances were held in proper establishments such as village halls and some were
even ticketed with audiences paying a fee for the privilege of watching. Music produced by
these groups were better recorded and some is still preserved today in museums. The music of
these groups may not exist in the present day but its influences are still clear if you look
closely enough. In classical(Q39) culture, for example many of the themes and theatrical
performances are still based on the lives and experiences of the working classes both
prior to and following the industrial revolution. The novel entitled les miserables by viktor
hugo, for example is a novel about the french working classes and is still widely popular
today. The original recordings(Q40) of the music written during these periods are now
hugely valuable due to the demand from avid collectors and enthusiastic fans. Many of
these recordings are publicly owned and displayed in museum exhibits. However, a selection
are still privately owned and occasionally appear for sale in auctions often reaching prices in
the hundreds of thousands. Well that just about wraps the lecture up for today. So if anyone
has any questions that is the end of section four you now have half a minute to check your