Rock music of all varieties has been influenced by classical music and vice versa, both in the form of direct quotes and in the form of borrowings of style, composition, and instrumentation. The average listener may be unaware of the many links between rock music and the classics. One might remember a few examples, such as Walter Murphy's chart-topping "A Fifth of Beethoven" or Eric Carmen's "All by Myself," but pass them off as interesting anomalies. However, the influence of the classics on rock music is pervasive and grows from a long line of precedents. This second supplement to Janell R. Duxbury's original 1985 discography, Rockin' the Classics and Classicizin' the Rock, brings the earlier work and first supplement up-to-date with hundreds of new entries documenting recently released or newly discovered examples of the interconnection between these musical genres. Duxbury details nearly 700 new examples of recorded rock instrumentals and songs that borrow musical themes from the classics. Variations range from contemporary renditions of complete classical works to brief classical quotes or phrases subtly incorporated into rock compositions. Duxbury also gives additional examples of recorded orchestral versions of songs originally composed and/or written by rock artists. In these examples, the musical style varies from strict classical interpretations to pop-style orchestral renditions. The second supplement then expands Duxbury's original compilation of sound recordings and live performances of rock groups performing with established orchestras and choruses, selected samples of recorded rock music that simulate baroque or classical sound/structure, examples of the manifest influence of rock on classical music, and instances of rock artists and classical artists switching roles. Lastly, this discography updates the 1985 version and the first supplement with new information, expanded details, and minor corrections to the earlier works. An extended list of selected non-rock background examples is included in several new appendixes. The Preface is updated. A general index includes the names of classical composers, rock artists and groups, orchestras, choruses, orchestra conductors, sound recording producers, and song or instrumental titles. With its incomparable scope and content, this supplement, together with Duxbury's previous discography, and its first supplement will be appreciated by students, researchers, record collectors, trivia buffs, music industry employees, and fans of rock music and the classics.

Few styles of popular music have generated as much controversy as progressive rock, a musical genre best remembered today for its gargantuan stage shows, its fascination with epic subject matter drawn from science fiction, mythology, and fantasy literature, and above all for its attempts to combine classical music's sense of space and monumental scope with rock's raw power and energy. Its dazzling virtuosity and spectacular live concerts made it hugely popular with fans during the 1970s, who saw bands such as King Crimson, Emerson, Lake and Palmer, Yes, Genesis, Pink Floyd, and Jethro Tull bring a new level of depth and sophistication to rock. On the other hand, critics branded the elaborate concerts of these bands as self- indulgent and materialistic. They viewed progressive rock's classical/rock fusion attempts as elitist, a betrayal of rock's populist origins. In Rocking the Classics, the first comprehensive study of progressive rock history, Edward Macan draws together cultural theory, musicology, and music criticism, illuminating how progressive rock served as a vital expression of the counterculture of the late 1960s and 1970s. Beginning with a description of the cultural conditions which gave birth to the progressive rock style, he examines how the hippies' fondness for hallucinogens, their contempt for Establishment-approved pop music, and their fascination with the music, art, and literature of high culture contributed to this exciting new genre. Covering a decade of music, Macan traces progressive rock's development from the mid- to late-sixties, when psychedelic bands such as the Moody Blues, Procol Harum, the Nice, and Pink Floyd laid the foundation of the progressive rock style, and proceeds to the emergence of the mature progressive rock style marked by the 1969 release of King Crimson's album In the Court of the Crimson King. This "golden age" reached its artistic and commercial zenith between 1970 and 1975 in the music of bands such as Jethro Tull, Yes, Genesis, ELP, Gentle Giant, Van der Graaf Generator, and Curved Air. In turn, Macan explores the conventions that govern progressive rock, including the visual dimensions of album cover art and concerts, lyrics and conceptual themes, and the importance of combining music, visual motif, and verbal expression to convey a coherent artistic vision. He examines the cultural history of progressive rock, considering its roots in a bohemian English subculture and its meteoric rise in popularity among a legion of fans in North America and continental Europe. Finally, he addresses issues of critical reception, arguing that the critics' largely negative reaction to progressive rock says far more about their own ambivalence to the legacy of the counterculture than it does about the music itself. An exciting tour through an era of extravagant, mind-bending, and culturally explosive music, Rocking the Classics sheds new light on the largely misunderstood genre of progressive rock.

From “Who Put the Bomp (in the Bomp, Bomp, Bomp)?” to a list of all song titles containing the word “werewolf,” Rock Music in American Popular Culture II: More Rock ’n’Roll Resources continues where 1995’s Volume I left off. Using references and illustrations drawn from contemporary lyrics and supported by historical and sociological research on popular cultural subjects, this collection of insightful essays and reviews assesses the involvement of musical imagery in personal issues, in social and political matters, and in key socialization activities. From marriage and sex to public schools and youth culture, readers discover how popular culture can be used to explore American values. As Authors B. Lee Cooper and Wayne S. Haney prove that integrated popular culture is the product of commercial interaction with public interest and values rather than a random phenomena, they entertainingly and knowledgeably cover such topics as: answer songs--interchanges involving social events and lyrical commentaries as explored in response recordings horror films--translations and transformations of literary images and motion picture figures into popular song characters and tales public schools--images of formal educational practices and informal learning processes in popular song lyrics sex--suggestive tales and censorship challenges within the popular music realm war--examinations of persistent military and home front themes featured in wartime recordings Rock Music in American Popular Culture II: More Rock ‘n’Roll Resources is nontechnical, written in a clear and concise fashion, and explores each topic thoroughly, with ample discographic and bibliographic resources provided for additional research. Arranged alphabetically for quick and easy reference to specific topics, the book is equally enjoyable to read straight through. Rock music fans, teachers, popular culture professors, music instructors, public librarians, sound recording archivists, sociologists, social critics, and journalists can all learn something, as the book shows them the cross-pollination of music and social life in the United States.

A guide to locating information on popular music and the people who create it, this volume is designed as a desk reference—to locate answers to specific questions and to direct library users to key resources. More than 400 comprehensive titles are carefully annotated, describing content, scope, and special features. The focus is on the musical styles that have developed measurable commercial success through recordings and live performance. Along with academic titles, many important titles from the popular press are included, as well as selected electronic resources. A necessary reference tool for any library, scholar, student, and popular music buff. The work covers bibliographies, indexes, discographies, dictionaries and encyclopedias, biographical resources, directories, almanacs, yearbooks, and guidebooks on styles that include jazz, swing, Tin Pan Alley, country, gospel, blues, rhythm and blues, soul, rockabilly, rock, heavy metal, musical theater, and film music. Its extensive appendices feature discographies and bibliographies of individual artists and ensembles. A detailed index combining authors, titles, and subjects makes cross-referencing easy. The entries are modeled after the immensely useful The Guide to Reference Books.

The function of print resources as instructional guides and descriptors of popular music pedagogy are addressed in this concise volume. Increasingly, public school teachers and college-level faculty members are introducing and utilizing music-related educational approaches in their classrooms. This book lists reports dealing with popular music resources as classroom teaching materials, and will stimulate further thought among students and teachers. It focuses on the growing spectrum of published scholarship available to instructors in specific teaching fields (art, geography, social studies, urban studies, and so on) as well as on the multitude of general resources (including biographical directories and encyclopedias of artist profiles). Building on two recent publications: Teaching with Popular Music Resources: A Bibliography of Interdisciplinary Instructional Approaches, Popular Music and Society, XXII, no. 2 (Summer 1998), and American Culture Interpreted through Popular Music: Interdisciplinary Teaching Approaches (Bowling Green State University Popular Press, 2000), this volume focuses on the growing spectrum of published scholarship that is available to instructors in specific teaching fields (art, geography, social studies, urban studies, and so on) as well as on the multitude of general resources (including biographical directories and encyclopedias of artist profiles).

The Rockin' '60s is a comprehensive guide through the decade that produced the greatest music of all time: The Beatles, The Rolling Stones, Bob Dylan, Jimi Hendrix, Led Zeppelin, Phil Spector, The Beach Boys, Aretha Frankin and hundreds more emerged from this era. Delve into a narrative history of each group and examine the people behind the music, along with an analysis of key recordings, discography, and archival photos throughout.

Rock Music in American Popular Culture III: More Rock ’n’Roll Resources explores the fascinating world of rock music and examines how this medium functions as an expression of cultural and social identity. This nostalgic guide explores the meanings and messages behind some of the most popular rock ’n’roll songs that captured the American spirit, mirrored society, and reflected events in our history. Arranged by themes, Rock Music in American Popular Culture III examines a variety of social and cultural topics with related songs, such as: sex and censorship--“Only the Good Die Young” by Billy Joel and “Night Moves” by Bob Seger and The Silver Bullet Band holiday songs--“Rockin’Around the Christmas Tree” by Brenda Lee and “The Christmas Song” by Nat King Cole death--“Leader of the Pack” by The Shangri-Las and “The Unknown Soldier” by The Doors foolish behavior--“When a Man Loves a Woman” by Percy Sledge and “What Kind of Fool” by Barbra Streisand and Barry Gibb jobs and the workplace--“Don’t Stand So Close to Me” by The Police and “Dirty Laundry” by Don Henley military involvements--“Boogie Woogie Bugle Boy” by the Andrews Sisters and “War” by Edwin Starr novelty recordings--“The Purple People Eater” by Sheb Wooley and “Eat It” by Weird Al Yankovic letters and postal images--“P. S. I Love You” by The Beatles and “Return to Sender” by Elvis Presely In addition, a discography and a bibliography after each section give further examples of the themes and resources being discussed, as do extensive lists of print references at the end of the text.