Timeline_of_music_in_the_United_States_(1970_to_the_present)

Timeline of music in the United States (1970–present)

Timeline of music in the United States (1970–present)

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This is a timeline of music in the United States from 1970 to the present.

1970

  • Diana Ross leaves the Supremes, considered to be the most successful and influential girl group of all time, to embark upon a solo career after her final performance with the group on January 14, 1970 in Las Vegas, Nevada.
  • Armadillo World Headquarters opens in Austin, Texas. It will become a major venue for the music of Austin, especially the local country scene.[1][2]
  • Black Sabbath's Black Sabbath and Paranoid codify the genre later known as heavy metal music; though Black Sabbath is British, heavy metal will become an important American phenomenon in the next decade.[3]
  • Charlie Gillett's The Sound of the City is the first comprehensive history of R&B and rock.[4]
  • Growing Latino "political unrest and cultural awakening" manifests in musical expression, especially in the formation of a group called El Chicano, who had a major hit with "Viva Tirado". "Viva Tirado" becomes the "first single to attain positions in all popular music categories except country and western".[5]
  • Francis Grasso opens the Sanctuary, the first "notoriously gay discothèque" in the country in the New York club scene; he innovates a technique called disco blending, which allows for uninterrupted dancing, laying the groundwork for disco music.[6]
  • Miles Davis' Bitches Brew is an important part of the origin of jazz-rock.[7]
  • Haitian performers with mini-djaz bands touring the United States begin deserting to settle in Miami and other cities, establishing a number of local Haitian music scenes.[8]
  • Nosotros, a Hollywood trade association for Latino entertainers, inaugurates what will become known as the Golden Eagle Awards, for Latino musicians.[5]
  • The works of Scott Joplin become the basis for a ragtime revival,[9] inspired in large part by The Complete Piano Works of Scott Joplin, a recording by John W. Parker, and Scott Joplin: Piano Rags, a recording by Joshua Rifkin. Eubie Blake becomes the only ragtime pianist to ever record one of his own pieces, "Charleston Rag" (written in 1921).[10]
  • The case Sinatra v. Goodyear Tire & Rubber Co., though ultimately unsuccessful, contends for the first time that the use of a performer to imitate a different performer – in this case, Nancy Sinatra – could constitute the tort of passing off.[11]
  • Jamaican musician U-Roy becomes the first to record rhythmic speech over dubs, which is the direct ancestor of rapping, one of the elements of hip hop culture.[12]
  • Louis Wayne Ballard becomes the Director of Music Programs for the Bureau of Indian Affairs. He will be the first Native American to create educational materials on Native American music.[13]
  • The Stooges begin performing, becoming known for making physical contact with the crowd, one of the reasons they are considered an important predecessor of punk rock and hardcore.[14]
  • The first digital synthesizers are created.[15]

1971

More information Early 1970s music trends ...
  • Andrew Lloyd Webber's Jesus Christ Superstar is an important musical that used elements of rock and soul.[22][23]
  • Edward V. Bonnemere's Missa a Nuestro Dio introduces jazz to the Lutheran church.[24]
  • Eileen Southern's Music of Black Americans: A History is a groundbreaking history[25] that helps establish the study of African American music "as a scholarly specialty".[4][26]
  • George Harrison is sued by the Bright Tunes Music Corporation, which contends that Harrison infringed on Ronald Mack's "He's So Fine" (recorded by The Chiffons) in Harrison's "My Sweet Lord". The court finds that Harrison took the melody from the Mack song, based on "substantial similarity", and that Harrison committed subconscious plagiarism.[11]
  • Marvin Gaye's What's Going On is released to great commercial and critical acclaim. It is a "bold musical experiment filled with stream-of-consciousness social commentary". The result is the best-selling album in Motown's history.[27]
  • Portia K. Maultsby organizes the first African American popular music ensemble at a university (Indiana University) that constitutes a credit course.[28]
  • Robert E. Brown, with Sam and Louise Scripps, takes one of, if not the first, groups of American students to study music in Indonesia.[29]
  • The film Shaft and the following year's Super Fly innovate the style known as blaxploitation, which had profound effects on the aesthetic of black popular music over the next several decades.[30]
  • Wendy Carlos releases Timesteps, an important work that explores a "combination of imaginative programming and recording techniques", demonstrating "how the electronic medium could serve a composer who wanted to explore electronic sounds within the context of a more accessible concert music".[31]
  • Two federally funded music venues are created, Wolf Trap Farm Park in Virginia and the John F. Kennedy Center for the Performing Arts.[32]
  • Quadrophonic recording, which uses four separate channels for superior sound quality, is introduced.[33]
  • Twelve out of the hundred top country singles in country this year are recorded at Buck Owens Recording Studio, the primary studio of the Bakersfield sound.[34]
  • Sigma Sound Studios is the first to successfully use mix automation.[35]

1972

1973

1974

  • Gloria Gaynor's "Never Can Say Goodbye" is the first "disco hit to reach the charts".[50]
  • The National Endowment for the Arts creates a subcategory within its music program for "Jazz/Folk/Ethnic Music"; though jazz had previously been supported by the NEA, this is the first support for folk music.[32][51]
  • The military establishes the Bicentennial Band, which will tour across the United States over the next few years in celebration of the country's bicentennial anniversary.[52]
  • The case Schroeder v. Macaulay is a key ruling on the enforceability of music publishing agreements. Among the consequences of the case is the reversion of unused material to the ownership of the author.[11]

1975

More information Mid-1970s music trends ...
  • Alex Haley's Roots is broadcast as a television miniseries, inspiring a rekindling of interest among African Americans of their traditional music and culture. It also helps to inspire similar roots revivals, a trend which will be intensified with the Bicentennial celebration the following year.[60]
  • Bruce Springsteen breaks into mainstream audiences with Born to Run, becoming "widely hailed as a rock and roll Messiah".[61]
  • Funk albums by Kool & the Gang (Spirit of the Boogie) and Earth, Wind & Fire (That's the Way of the World) are major successes on both the rhythm and blues and pop music charts.[30]
  • The exclusively female 14th Army Band begins integrating male members.[62]
  • John Williams' score for Jaws helps "revitalize the symphonic score, using existing practices and vocabularies".[63]
  • The rise of the Khmer Rouge in Cambodia leads to a wave of immigration to the United States, clustering in Lowell, Massachusetts and Long Beach, California, thus marking the beginning of a large Cambodian American musical tradition.[64]
  • Ned Buster holds the first traditional dance among the Ardmore Choctaw since 1937, then helps found the Choctaw-Chickasaw Heritage Committee to promote the long-dormant music, dance and other cultural heritage of the Choctaw and Chickasaw peoples.[65]
  • Parliament's Mothership Connection is a funk milestone, introducing "new approaches to varying moods, textures and timbres that symbolize... concepts of heterogeneity and spontaneity in black cultural expression".[30]
  • Pearl Williams-Jones begins her groundbreaking research on the "performance aesthetic" of Pentecostal Christian music.[25]
  • The Popovich Brothers are the subject of a film by Jill Godmilow, finding great fame for their style, based on the Serbo-Croatian tamburitza tradition.[66]
  • Punk is the first documented fanzine devoted to punk rock in the United States. Fanzines will soon become an integral part of the field of punk rock.[67]
  • The term salsas growing acceptance as music terminology is reflected by its use in the Latin New York Music Awards this year.[68]
  • Scott Joplin's Treemonisha is revived in its first "full-scale professional production", by the Houston Grand Opera and with an all-black cast and orchestration by Gunther Schuller, who also conducted.[69]
  • Thomas F. Johnston begins a series of publication over this and the next year, which are among the most extensive ethnomusicological research done in Alaska.[70]
  • Deejay Tom Moulton begins selling disco records in twelve-inch singles. The format is a "deejay-friendly medium that establish(es) the deejay" as a remixer who would rearrange, edit and then record dance music version for play in clubs.[6]
  • Van McCoy's "The Hustle" makes disco into a national trend.[54]
  • Vietnamese immigration to the United States decreases, and most Vietnamese American music into the 21st century draws entirely on the music of Vietnam as it was before this year, which marks the end of the Vietnam War. Many of the upland Vietnamese people, however, begin moving to the United States in this period, bringing with them a unique musical culture as they settled throughout the country, though especially in North Carolina.[71] The end of the Vietnam War also leads to increased Thai, Cham, Lao and Hmong immigration to the United States.[72][73]
  • Walter Hawkins and his choir record Love Alive, a massively successful gospel record that will remain on the charts for three years.[74]
  • The Wiz, a retelling of The Wizard of Oz as musical theater with an all-black cast, is a groundbreaking, award-winning "smash hit" that presages a "resurgence of musical shows by blacks".[75]
  • Patti Smith's debut, Horses was the first album to come out of New York City punk rock scene.[76]
  • The duo of John McLaughlin and Zakir Hussain become one of the first duos to perform what will be known as fusion world music.[77]
  • RCA Records introduces the 12" vinyl single as a promotional tool aimed at DJs in dance clubs.[78]

1976

1977

1978

More information Late 1970s music trends ...
  • Charley Rappaport, Stephen M. Wolownik and Lynn Carpenter form the Balalaika and Domra Association of America, which brings together many of the Russian balalaika orchestras across the country, and serves as a "clearinghouse for importing Russian instruments, books, and music".[108]
  • Erno Rapee's Encyclopedia of Music for Pictures is published, "to provide ideas for music appropriate to a scene" in a movie.[63]
  • Don Cornelius' Soul Train, an African American counterpart to American Bandstand, first airs.[80]
  • The emcee begins to replace the DJ as the most prominent performer in hip hop.[12]
  • Simon Frith and Angela McRobbie are the first academic researchers to study the perceived inherent masculinity of rock music, concluding that it is a product of socialization early in life, in which females are encouraged to be passive and submissive, qualities antithetical to much rock music.[109]
  • Sony introduces the Walkman, a portable cassette player that contributes greatly to the success of that format for recorded music.[110]
  • Martin Scorsese' documentary of The Band, Last Waltz, pioneers a new style of concert film, presenting a more naturalistic image than the larger-than-life atmosphere of most earlier concert films.[111]
  • Middle Class releases Out of Vogue, the first West Coast hardcore punk recording.[112]
  • The North American Basque Organization begins sponsoring a summer camp to help keep alive the musical and other cultural traditions of Basque Americans.[113]
  • The Tyagaraja Festival in Cleveland is founded, by members of the Faith United Church of Christ, to protect and promote Carnatic music, becoming the largest music festival of its kind outside India, and the first such festival in the United States.[114]
  • Kent State University establishes one of the first Thai musical ensembles in the United States.[73]
  • Sound Explosion becomes the first Filipino American mobile DJing group, which will soon become a major phenomenon in the San Francisco area.[77]
  • The Apple II's alphaSyntauri music system is the first "low-cost professionally usable computer music system".[115]

1979

1980

More information Early 1980s music trends ...

1981

  • Vangelis' score for Chariots of Fire is an influential film composition, an early example to use "obviously synthesized sounds".[63]
  • James Cleveland becomes the first gospel singer with a star on the Hollywood Walk of Fame.[132]
  • The breakthrough release for the gospel dynasty the Winan family, Introducing the Winans, is released.[133]
  • MTV premiers, showing the first of its music videos, The Buggles' "Video Killed the Radio Star". The channel is intended both to appeal to a young demographic poorly served by existing channels as well as market and expose new acts to popular music audiences.[134] MTV will go on to expose audiences to new music to the present, but will also be criticized for adversely affecting the quality of both recorded and live music.[12] It will become the largest international media company presenting popular music through cable and satellite.[135]
  • The Texas Talent Musicians' Association establishes the Tejano Music Awards to encourage the Tejano music industry.[136]
  • Harsh restrictions on dissenters in Haiti leads to another wave of migration to the United States, especially artists in a field known as angaje, including Ti-Manno, Manno Charlemagne and Les Frères Parent.[8]
  • Minor Threat's "Straight Edge" inspires the straight edge movement within hardcore punk,[137] while the Dead Kennedys' "Nazi Punks Fuck Off" is an influential tirade against the white racists who are becoming a substantial part of the hardcore scene in some areas.[138] Black Flag records Damaged, one of the seminal hardcore records,[139] and Fear's appearance on Saturday Night Live inspires and lends legitimacy to the burgeoning hardcore sound.[140]
  • Lilian Esop organizes the first Kannel Days festival to celebrate the Estonian American kannel. This same year also sees Gottlieb Peets begin manufacturing kannels, soon becoming one of the premier manufacturers in the country.[141]
  • The Asian American Jazz Festival is founded to promote the field of Asian American jazz.[77][142]
  • The American Gamelan Institute is established by Jody Diamond to document the American gamelan tradition.[29]
  • Teen Idles' Minor Disturbance becomes the first Washington, D.C. hardcore recording, and the first release by Dischord Records,[143] while Al Barile becomes a punk after seeing a Minor Threat show; he will become the leader of the Boston hardcore scene and found SS Decontrol.[144] The hardcore scene of New York, Florida, Madison, Seattle and Detroit also begin to coalesce in this year.[145]
  • The United Methodist Church publishes Songs of Zion, a "pioneering collection of hymns, spirituals, and gospel songs" as a supplement to the official church hymnal.[146]
  • The Army sets rules for when military band members are to abandon their musical missions for more important purposes.[147]

1982

1983

  • The movie Flashdance features a massively popular soundtrack that used unfamiliar, synthesized sounds.[22][63] Paramount's music trailers for the film are the first such advertisements for a movie.[95]
  • Philip Glass' Koyaanisqatsi is an influential avant-garde film and score.[63]
  • The movie The Big Chill establishes a trend of using preexisting songs that give a sense of time, identity and place for the movie; this becomes standard practice.[63]
  • Gospel at Colonus is a successful Off-Broadway musica; that helps establish the modern career of the Blind Boys of Alabama.[154]
  • George Winston becomes the first new-age music star with his recordings Winter into Spring and Autumn, December.[3]
  • The success of Michael Jackson's Thriller signifies an end to the first major recession for the music industry since the late 1940s.[50] It is the "best-selling album in pop-music history" at the time.[118]
  • The Grammy Awards expands its Latin awards to include Tropical, Latin Pop and Mexican American.[5]
  • A resurgence of interest in traditional Norwegian music leads to the re-formation of the Hardanger Violinist Association of America.[141]
  • Run-D.M.C.'s "It's Like That" launches their career as the leading hip hop group of the decade. They will be the first rappers on MTV and American Bandstand.[150]
  • Yamaha introduces the DX7, the most successful synthesizer in the United States.[90]
  • Soft drink corporation Pepsi-Cola sponsors a Michael Jackson tour. The sponsorship is reported to have increased sales of Pepsi products by ten percent in cities where Jackson performed, and the success of the plan accelerates the corporate sponsorship of rock tours.[155]

1984

1985

More information Mid-1980s music trends ...

1986

1987

  • Asian Improv Records is founded, soon becoming one of the premier labels of the Asian American jazz movement.[77]
  • Cigarette company Benson & Hedges becomes the first major corporation to sponsor a tour of American jazz musicians.[155]
  • The premier of Nixon in China by John Coolidge Adams with librettist Alice Goodman and stage director Peter Sellars at the Houston Grand Opera establishes Adams' career and help introduce "contemporary issues into a traditional venue".[177]
  • The movie Dirty Dancing features a popular soundtrack.[22]
  • At a meeting of British music industry executives, the term world music is coined, leading to a vast expansion of non-Western music sections in record stores in Europe and North America.[3]
  • KMET in Los Angeles becomes KTWV, the first all new-age commercial radio station.[3]
  • Guns N' Roses' Appetite for Destruction marks the beginning of a new era in popular heavy metal. It is the second best-selling debut album of all time.[3]
  • Conservative Jewish synagogues begin certifying women as cantors, though they will not be allowed to join the Cantors Assembly until 1990.[56]
  • The first bootleg CD is made.[178]
  • The Smithsonian Institution acquires the catalogue of Folkways Records, committing to keeping all the more than two thousand recordings in print. The first director of the project, Anthony Seeger, commits to acquiring additional independent labels for the Institution.[179]

1988

More information Late 1980s music trends ...

1989

  • A number of Tibetan expatriates form Chaksam-pa, the Tibetan Dance and Opera Company.[80]
  • The United States-Canada Trade Agreement spurs arguments between the two countries regarding economics of cultural products, with many on both sides fighting for the "exclusion of cultural industries from trade liberalization".[32]
  • MTV's Yo! MTV Raps debuts; the show will lead to many hip hop artists finding new audiences.[12]
  • The Pacific Islander Festival is established in Los Angeles, inspiring other music festivals that bring together Hawaiians, Samoans and other Polynesian Americans.[188]
  • 2 Live Crew's Nasty As They Wanna Be is accused of obscenity, resulting in a legal battle that gained national attention.[97] N.W.A.'s "Fuck Tha Police" similarly becomes the target of protest from law enforcement officers.[183]
  • The simultaneous release of an international Pepsi advertising campaign with the "Like a Prayer" single by Madonna is perhaps the most successful and most-hyped tie-in of a popular song in an advertising campaign.[189]
  • The United States becomes a signatory to the Berne Convention, an international agreement on copyright.[190]
  • Major record companies, fearing a rise in home taping reducing sales, refuse to license recorded music for the new medium of digital audio tape until the Serial Copy Management System is invented to prevent more than one copy of a recording and additional copies of the single allowed copy.[20][191]
  • The first compact disc jukebox is introduced.[192]
  • Milli Vanilli wins the Grammy Award for Best New Artist, even as a Rolling Stone poll of rock critics results in the group being voted the worst new band of the year.[193] After it is revealed that members of the group did not sing on the hit songs, Milli Vanilli becomes the first performers to return their Grammy.[160]

1990

More information Early 1990s music trends ...

1991

1992

  • Philip Glass' Symphony No. 2 "combines the melodic, harmonic, and rhythmic hallmarks of his work in a more comprehensive, symphonic-style discourse than he (had) attempted before".[149]
  • The song "Cop Killer" by Body Count, fronted by Ice-T, becomes the subject of national controversy and is pulled from the album by Warner Brothers, due to concerns that the song promotes the murder of police.[163]
  • The Audio Home Recording Act places a levy on digital media, such as CDs, that can be used to make recordings of copyrighted music without the permission of the copyright owner.[20]
  • Awadagin Pratt wins the Walter W. Naumburg International Piano Competition, the first African American to do so.[118]
  • Branford Marsalis reaches an African American music milestone when he is appointed bandleader for The Tonight Show, the first black musician to occupy a "major spot on mainstream nighttime television".[199]
  • Ron Nelson's Passacaglia (Homage on B.A.C.H.) is the most award-winning composition for wind band in American history, winning the Barlow, American Bandmasters Association and NBA awards.[200]
  • A collection of essays, entitled The Adoring Audience: Fan Culture and Popular Media, is the beginning of serious scholarly research on "fandom", or the phenomenon of people being "fans" of a particular performer, group or genre.[201]
  • The digital compact cassette is introduced by Philips and Matsushita, but it is expensive and, despite superior sound quality, the format does not succeed.[110][202] The minidisc is introduced by Sony, but fails to catch on in the United States.[203]
  • The first House of Blues restaurant and club opens in Boston, founded by Isaac Tigrett.[204]

1993

1994

  • MuchUSA, the American branch of Canadian music television giant CHUM/Citytv, is created.[31]
  • The banning of Country Music Television by the Radio-Television Telecommunication Commission in favor of the Canadian Country Network nearly precipitates a trade war between the United States and Canada.[32]
  • Rough Guides, a music publishing company, releases World Music: The Rough Guide, the most comprehensive reference source for world music.[3]
  • Research by Beverly Diamond, M. Sam Cronk and Franziska von Rosen constitutes the first major musicological study of the instrumentation of an entire Native American music area, the Northeast.[208]
  • The first large kate, a traditional Cham celebration featuring music and dance, in the United States is held in San Jose.[73]
  • The Brooklyn Museum begins hosting an annual week-long festival, Mahrajan al-Fan, of Arab music and culture, led by Simon Shaheen.[119]
  • Kurt Cobain's suicide is taken by many of his fans and media figures as an endpoint to the "slacker" culture that Cobain's band, Nirvana, and style of music, grunge, had symbolized.[92]
  • The case of Campbell v. Acuff-Rose Music, Inc. – over the use of Roy Orbison's "Oh, Pretty Woman" in a song by 2 Live Crew – marks a change in direction by American courts in allowing the parodic fair use of copyrighted material in commercial works.[11]
  • The Big Easy Social and Pleasure Club is founded by Tom McLendon in Houston, Texas, soon becoming the "most reliable and accessible" blues venue in the city.[209]

1995

More information Mid-1990s music trends ...
  • Royal Hartigan, who developed a drum set that could be used with Ghanaian rhythmic techniques, publishes West African Rhythms for the Drum Set, which "presents a detailed exposition of cross-cultural performance and a breakthrough method that shows a new way of playing the drum set by incorporating traditional Ghanaian rhythmic forms".[3]
  • The Potawatomi Nation of Wisconsin fund the Milwaukee Ballet Company's performance of Dream Dances, a reclamation of the Potawatomi music found in Otto Luening's Potawatomi's Legends.[82]
  • The Lincoln Center for the Performing Arts establishes a "jazz department on equal terms with opera and symphony orchestra".[118]
  • Television channel M2 is formed to replicate the constant music video playing associated with the beginning of MTV.[135]

1996

1997

1998

More information Late 1990s music trends ...

1999

2000

  • The Grammy Awards designate seven awards for Latin music: Tejano Performance, Latin Pop Performance, Latin Rock/Alternative Performance, Mexican-American Performance, Salse Performance, Merengue Performance and Traditional Tropical Latin Performance.[46] The Latin Grammys are also founded to focus specifically on rewarding Latin music in the United States.[5]
  • The O Brother Where Art Thou? is a surprise success, consisting of old time music, which provokes a resurgence of interest in American folk music.[38]
  • Napster is convicted of violating copyright law for enabling people to trade files without permission from the owner of the copyrights in the file.[219]

2001

2002

  • George N. Thompson becomes the first African American to serve as head of the United States Navy's Musical Training Program.[222]

2003

2004

2005

References


Notes

  1. Malone and Stricklin, pg. 140
  2. Lewis, pg. 60
  3. Ho, Fred, Jeremy Wallach, Beverly Diamond, Ron Pen, Rob Bowman and Sara Nicholson, "Snapshot: Five Fusions", pgs. 334–361, in the Garland Encyclopedia of World Music
  4. Horn, David. "Histories". The Continuum Encyclopedia of Popular Music of the World. pp. 31–38.
  5. Loza, Steven. "Hispanic California". The Garland Encyclopedia of World Music. pp. 734–753.
  6. Levine, Victoria Lindsay. "Southeast". The Garland Encyclopedia of World Music. pp. 466–471.
  7. Southern, pg. 499
  8. Averill, Gage. "Haitian and Franco-Caribbean Music". The Garland Encyclopedia of World Music. pp. 802–807.
  9. Crawford, pg. 545
  10. Chase, pgs. 424–426
  11. Greenfield, Steve; Guy Osborn. "Lawsuits". The Continuum Encyclopedia of Popular Music of the World. pp. 495–497.
  12. Norfleet, Dawn M. "Hip-Hop and Rap". The Garland Encyclopedia of World Music. pp. 692–704.
  13. Levine, pg. xxiv
  14. Blush, pg. 209
  15. Schrader, Barry. New Grove Dictionary of American Music. pp. 30–35.
  16. Leger, James K. "Música Nuevomexicana". The Garland Encyclopedia of World Music. pp. 754–769.
  17. Crawford, pg. 810
  18. Cohen, Sara. Sound (Local). pp. 413–415.
  19. Koskoff, pg. 266
  20. Laing, Dave. "Home Taping". The Continuum Encyclopedia of Popular Music of the World. p. 489.
  21. Théberge, Paul. "Home Recording". The Continuum Encyclopedia of Popular Music. pp. 619–620.
  22. Cockrell, Dale and Andrew M. Zinck, "Popular Music of the Parlor and Stage", pgs. 179–201, in the Garland Encyclopedia of World Music
  23. Chase, pg. 541
  24. Southern, pg. 505
  25. Maultsby, Portia K.; Mellonee V. Burnin; Susan Oehler. "Overview". The Garland Encyclopedia of World Music. pp. 572–591.
  26. Ramsey, Jr., Guthrie P. (Spring 1996). "Cosmopolitan or Provincial?: Ideology in Early Black Music Historiography, 1867–1940". Black Music Research Journal. 16 (1): 11–42. doi:10.2307/779375. JSTOR 779375.
  27. Miller, pgs. 278–279
  28. Maultsby, Portia K.; Isaac Kalumbu. "African American Studies". The Continuum Encyclopedia of Popular Music of the World. pp. 47–54.
  29. Diamond, Beverly; Barbara Benary. "Indonesian Music". The Garland Encyclopedia of World Music. pp. 1011–1023.
  30. Maultsby, Portia K. "Funk". The Garland Encyclopedia of World Music. pp. 681–686.
  31. Pegley, Karen and Rob Haskins, "Snapshot: Two Forms of Electronic Music", pgs. 250–255, in the Garland Encyclopedia of World Music
  32. Bergey, Barry, "Government and Politics", pgs. 288–303, in the Garland Encyclopedia of World Music
  33. Théberge, Paul. "Quadrophonic". The Continuum Encyclopedia of Popular Music. pp. 437–438.
  34. Marlowe, Robert J. "Buck Owens Recording Studio". The Continuum Encyclopedia of Popular Music. p. 652.
  35. Tarsia, Joseph. "Sigma Sound Studios". The Continuum Encyclopedia of Popular Music. pp. 670–671.
  36. Strachan, Robert; Marion Leonard. "Archives". The Continuum Encyclopedia of Popular Music of the World. pp. 3–6.
  37. Miller, pg. 301
  38. Erbsen, pg. 6
  39. Miller, pgs. 304–305
  40. Miller, pg. 310
  41. Cusic, pg. 183
  42. Reyes, Adelaida. "IDentity, Diversity, and Interaction". The Garland Encyclopedia of World Music. pp. 504–518.Baker, Theodore (1881). Uber die Musik der nordamerikanischen Wilden. Leipzig: Breitkopf u. Härtel.
  43. Pruter, Robert; Paul Oliver. "Chicago". The Continuum Encyclopedia of Popular Music of the World. Retrieved July 9, 2008.
  44. Bird, pg. 420
  45. Miller, pg. 311
  46. Sheehy, Daniel; Steven Loza. "Overview". The Garland Encyclopedia of World Music. pp. 718–733.
  47. Mitchell, pg. 173
  48. Cohen, Sara; Marion Leonard. "Feminism". The Continuum Encyclopedia of Popular Music of the World. pp. 74–76.
  49. Clarke, pg. 66
  50. Garofalo, Reebee. The Garland Encyclopedia of World Music. pp. 705–715.
  51. Koskoff, pg. 32
  52. Levy, Mark. "Central European Music". The Garland Encyclopedia of World Music. pp. 884–903.
  53. Krasnow, Carolyn H. and Dorothea Hast, "Snapshot: Two Popular Dance Forms", pgs. 227–234, in the Garland Encyclopedia of World Music
  54. Sullivan, pg. 606
  55. Slobin, Mark. "Jewish Music". The Garland Encyclopedia of World Music. pp. 933–945.
  56. Darden, pg. 286
  57. Cowdery, James R. and Anne Lederman, "Blurring the Boundaries of Social and Musical Identities", pgs. 322–333, in the Garland Encyclopedia of World Music
  58. Loza, Steven. "Latin Caribbean". The Garland Encyclopedia of World Music. pp. 790–801.
  59. Vallely, pg. 415
  60. Miller, pg. 318
  61. Kassabian, Anahid, "Film", pgs. 202–205, in the Garland Encyclopedia of World Music
  62. Sam, Sam-Ang. "Cambodian Music". The Garland Encyclopedia of World Music. pp. 998–1002.
  63. Levin, Victoria Lindsay (Winter 1993). "Musical Revitalization among the Choctaw". American Music. 11 (4): 391–411. doi:10.2307/3052538. JSTOR 3052538.
  64. Chase, pgs. 484–485
  65. Atton, Chris. "Fanzines". The Continuum Encyclopedia of Popular Music of the World. pp. 226–228.
  66. Cornelius, Steven. "Afro-Cuban Music". The Garland Encyclopedia of World Music. pp. 783–789.
  67. Chase, pg. 556
  68. Beaudry, Nicole. "Arctic Canada and Alaska". The Garland Encyclopedia of World Music. pp. 374–382.Johnston, Thomas F. (1975). "Eskimo Music of the Northern Interior Alaska". Polar Notes. 14 (54–57)., Johnston, Thomas F. (1976). Eskimo Music, a Comparative Circumpolar Study. Mercury Series 32. Ottawa: National Museum of Man., Johnston, Thomas F. (1976). "The Eskimo Songs of Northwestern Alaska". Arctic. 29 (1): 7–19. doi:10.14430/arctic2783., Dall, William H. (1870). Alaska and Its Resources (Reprint, New York: Arno Press, 1970 ed.). Boston: Lee and Shephard.
  69. Nguyen, Phong T.; Terry E. Miller. "Vietnamese Music". The Garland Encyclopedia of World Music. pp. 993–997.
  70. Catlin, Amy. "Hmong Music". The Garland Encyclopedia of World Music. pp. 1003–1006.
  71. Miller, Terry E. "Lao, Thai, and Cham Music". The Garland Encyclopedia of World Music. pp. 1007–1010.
  72. Darden, pg. 276
  73. Riis, Thomas L. "Musical Theater". The Garland Encyclopedia of World Music. pp. 614–623.
    • Walsh, Gavin (2006). Punk on 45; Revolutions on Vinyl, 1976–79 (London: Plexus), p. 27. ISBN 0-85965-370-6.
  74. Keightley, Keir; Will Straw. "Single". The Continuum Encyclopedia of Popular Music of the World. pp. 779–780.
  75. Crawford, pg. 832
  76. Kealiinohomoku, Joann W. and Mary Jane Warner, "Dance", pgs. 206–226, in the Garland Encyclopedia of World Music
  77. Koskoff, pg. 30
  78. Frisbie, Charlotte J. "American Indian Musical Repatriation". The Garland Encyclopedia of World Music. pp. 491–501.
  79. Miller, Terry E. "Overview". The Garland Encyclopedia of World Music. pp. 948–956.
  80. Chase, pg. 539
  81. Southern, pg. 497
  82. Mitchell, pg. 171
  83. Mitchell, pg. 172
  84. Blush, pg. 102
  85. Buckley, David; John Shepherd. "Stardom". Continuum Encyclopedia of Popular Music of the World. pp. 366–369.
  86. Bastian, Vanessa. "Instrument Manufacture". The Continuum Encyclopedia of Popular Music of the World. pp. 526–529.
  87. Miller, pg. 338
  88. Buckley, David; John Shepherd; Berndt Ostendorf. "Death". The Continuum Encyclopedia of Popular Music of the World. pp. 200–204.
  89. Bowers, Jane, Zoe C. Sherinian and Susan Fast, "Snapshot: Gendering Music", pgs. 103–115, in the Garland Encyclopedia of World Music
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  91. Smith, Jeff. "The Film Industry and Popular Music". The Continuum Encyclopedia of Popular Music of the World. pp. 499–504.
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  93. Hilts, Janet; David Buckley; John Shepherd. "Crime". The Continuum Encyclopedia of Popular Music of the World. pp. 189–196.
  94. Chase, pg. 404
  95. Bird, pg. 200
  96. Waksman, pg. 682
  97. Blush, pg. 14
  98. Blush, pg. 132
  99. Bird, pg. 41
  100. Laing, Dave. "Windham Hill". The Continuum Encyclopedia of Popular Music of the World. p. 774. Laing calls it "virtually synonymous" with New Age music.
  101. Campbell, Patricia Sheehan and Rita Klinger, "Learning", pgs. 274–287, in the Garland Encyclopedia of World Music
  102. Miller, Rebecca S. "Irish Music". The Garland Encyclopedia of World Music. pp. 842–846.
  103. Shepherd, John; Peter Wicke. "Musicology". The Continuum Encyclopedia of Popular Music of the World. pp. 90–94.
  104. Livingston, Tamara E. and Katherine K. Preston, "Snapshot: Two Views of Music and Class", pgs. 55–62, in the Garland Encyclopedia of World Music
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  106. Théberge, Paul. "Amplifier". The Continuum Encyclopedia of Popular Music of the World. pp. 505–506.
  107. Strachan, Robert; Marion Leonard. "Film and Television Documentaries". The Continuum Encyclopedia of Popular Music of the World. pp. 26–29.
  108. Blush, pg. 17
  109. Sturman, Janet L. "Iberian Music". The Garland Encyclopedia of World Music. pp. 847–853.
  110. Martin, Claire. "Snapshot: The Tyagaraja Festival in Cleveland, Ohio". The Garland Encyclopedia of World Music. pp. 988–992.
  111. Hinkle-Turner, pg. 46
  112. Rettenmund, pg. 49
  113. Koskoff, pg. 31
  114. Southern, pgs. 361–364
  115. Rasmussen, Anne K. "Middle Eastern Music". The Garland Encyclopedia of World Music. pp. 1028–1041.
  116. Blush, pg. 22
  117. Middleton, Richard. "Semiology/Semiotics". The Continuum Encyclopedia of Popular Music of the World. pp. 122–126.
  118. Hosokawa, Shuhei. "Walkman". The Continuum Encyclopedia of Popular Music of the World. pp. 524–525.
  119. Wolfe, Charles K. and Jacqueline Cogdell DjeDje, "Snapshot: Two Views of Music, Race, Ethnicity, and Nationhood", pgs. 76–86, in the Garland Encyclopedia of World Music
  120. Blush, pg. 18
  121. Rettenmund, pg. 50
  122. Blush, pg. 16; Blush cites Joey Shithead of DOA, whose 1981 Hardcore 81 Blush describes as possibly the "first official use of the term in music".
  123. Asai, Susan M. "Japanese Music". The Garland Encyclopedia of World Music. pp. 967–974.
  124. Romero, Brenda M. "Great Basin". The Garland Encyclopedia of World Music. pp. 420–427.Herzog, George (1935). "Plains Ghost Dance and Great Basin Music". American Anthropologist. 38 (3): 403–419. doi:10.1525/aa.1935.37.3.02a00040.
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  127. Darden, pg. 299
  128. Straw, Will. "Music Video". The Continuum Encyclopedia of Popular Music. pp. 622–623.
  129. Laing, Dave. "MTV". The Continuum Encyclopedia of Popular Music of the World. pp. 446–447.
  130. Reyna, José R. "Tejano Music". The Garland Encyclopedia of World Music. pp. 770–782.
  131. Blush, pg. 26
  132. Blush, pgs. 30–32; Blush calls the song a "lightning rod of controversy".
  133. Blush, pg. 62
  134. Blush, pg. 284
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  136. Zheng, Su. "Chinese Music". The Garland Encyclopedia of World Music. pp. 957–966.
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  138. Blush, pg. 159
  139. Blush, pg. 173, 210, 228, 256, 260
  140. Southern, pgs. 604–605
  141. Miller, pgs. 350–351
  142. Haskins, Rob, "Orchestral and Chamber Music in the Twentieth Century", pgs. 173–178, in the Garland Encyclopedia of World Music
  143. Southern, pg. 600
  144. McQuillar, pg. 5
  145. Blush, pg. 203
  146. Borwick, John; Dave Laing. "Compact Disc". The Continuum Encyclopedia of Popular Music of the World. pp. 507–508.
  147. Darden, pg. 288
  148. Laing, Dave. "Sponsorship". The Continuum Encyclopedia of Popular Music of the World. pp. 565–566.
  149. Post, Jennifer C., Neil V. Rosenberg and Holly Kruse, "Snapshot: How Music and Place Intertwine", pgs. 153–172, in the Garland Encyclopedia of World Music
  150. Darden, pg. 192
  151. Rahkonen, Carl. "Overview". The Garland Encyclopedia of World Music. pp. 820–830.
  152. Koskoff, pg. 180
  153. Laing, Dave. "Awards". The Continuum Encyclopedia of Popular Music of the World. pp. 533–535.
  154. Witmer, Robert. "British Caribbean Music". The Garland Encyclopedia of World Music. pp. 808–812.
  155. Shepherd, John; David Buckley. "Pornography". Continuum Encyclopedia of Popular Music of the World. pp. 322–328.
  156. Cloonan, Martin. "Censorship". The Continuum Encyclopedia of Popular Music of the World. pp. 168–172.
  157. Southern, pg. 583
  158. Moore, pg. xvi
  159. Blush, pg. 156
  160. Blush, pg. 173
  161. Garofalo, Reebee. "Charity Events". The Continuum Encyclopedia of Popular Music of the World. pp. 172–173.
  162. Garner, Ken. "Programming". The Continuum Encyclopedia of Popular Music of the World. pp. 449–451.
  163. Vallely, pg. 422
  164. Hilts, Janet; David Buckley; John Shepherd. "Cultural Imperialism". The Continuum Encyclopedia of Popular Music of the World. pp. 196–198.
  165. Haefer, J. Richard. "Southwest". The Garland Encyclopedia of World Music. pp. 428–439.Painter, Muriel Thayer (1986). With Good Heart: Yaqui Beliefs and Ceremonies in Pascua Village. Tucson: University of Arizona Press.
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  168. Buckley, David. "Halls of Fame/Museums". The Continuum Encyclopedia of Popular Music of the World. pp. 29–31.
  169. Crawford, pg. 834
  170. Laing, Dave. "Bootleg". The Continuum Encyclopedia of Popular Music of the World. p. 481.
  171. The Editors. "Smithsonian Institution Recordings". The Continuum Encyclopedia of Popular Music of the World. pp. 755–756. {{cite book}}: |author= has generic name (help)
  172. Monson, Ingrid. "Jazz". The Garland Encyclopedia of World Music. pp. 650–666.
  173. Horn, David. "Signifying". The Continuum Encyclopedia of Popular Music of the World. pp. 411–413.
  174. Southern, pg. 601
  175. Caraminica, Jon. "Obscenity". Continuum Encyclopedia of Popular Music of the World. pp. 294–296.
  176. Wicke, Peter. "The State". Continuum Encyclopedia of Popular Music of the World. pp. 369–371.
  177. "Suffer CD". Bad Religion Official Web Store. Kings Road Merch.
  178. Stillman, Amy Ku'uleialoha. "Polynesian Music". The Garland Encyclopedia of World Music. pp. 1047–1053.
  179. Strachan, Robert; Marion Leonard. "Popular Music in Advertising". Continuum Encyclopedia of Popular Music of the World. pp. 312–318.
  180. Laing, Dave. "Berne Convention". The Continuum Encyclopedia of Popular Music of the World. pp. 480–481.
  181. Théberge, Paul. "DAT". The Continuum Encyclopedia of Popular Music of the World. pp. 509–510.
  182. Laing, Dave. "Jukebox". The Continuum Encyclopedia of Popular Music of the World. pp. 513–515.
  183. Laing, Dave. "Polls". The Continuum Encyclopedia of Popular Music of the World. p. 561.
  184. Rye, Howard; David Horn. "Discography". The Continuum Encyclopedia of Popular Music of the World. pp. 14–17.
  185. Laing, Dave. "Media". The Continuum Encyclopedia of Popular Music of the World. pp. 429–432.
  186. Rycenga, Jennifer. "Religion and Spirituality". Continuum Encyclopedia of Popular Music of the World. pp. 338–345.
  187. Strachan, Robert; Marion Leonard. "Awards". The Continuum Encyclopedia of Popular Music of the World. pp. 535–541.
  188. Southern, pg. 602
  189. Southern, pg. 571
  190. Hansen, pg. 299
  191. Buckley, David; John Shepherd. "Fans". The Continuum Encyclopedia of Popular Music of the World. pp. 223–226.
  192. Borwick, John. "Digital Compact Cassette". The Continuum Encyclopedia of Popular Music of the World. p. 510.
  193. Borwick, John. "Minidisc". The Continuum Encyclopedia of Popular Music of the World. p. 517.
  194. Bird, pg. 179
  195. Abel, pgs. 48–49
  196. Darden, pg. 317
  197. Linehan, Andrew. "Soundcarrier". Continuum Encyclopedia of Popular Music of the World. pp. 359–366.
  198. Haefer, Richard. "Musical Instruments". The Garland Encyclopedia of World Music. pp. 472–479.
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  199. Bird, pg. 358
  200. Rycenga, Jennifer, Denise A. Seachrist and Elaine Keillor, "Snapshot: Three Views of Music and Religion", pgs. 129–139, in the Garland Encyclopedia of World Music
  201. Wright, Jacqueline R. B. "Concert Music". The Garland Encyclopedia of World Music. pp. 603–613.
  202. Southern, pg. 550
  203. Crawford, pg. 846
  204. Sanjek, David and Will Straw, "The Music Industry", pgs. 256–267, in the Garland Encyclopedia of World Music
  205. Hansen, pg. 305
  206. W. Willett, Ralph. "Music Festivals". Continuum Encyclopedia of Popular Music of the World. pp. 281–284.
  207. Laing, Dave. "Copyright". The Continuum Encyclopedia of Popular Music of the World. pp. 481–485.
  208. Horn, David; David Buckley. "Disasters and Accidents". The Continuum Encyclopedia of Popular Music of the World. pp. 207–210.
  209. Gillis, Dennis (July 3, 2002). "First African-American to lead the Navy's only Musical Training Facility" (PDF). Chief of Naval Education and Training. Retrieved February 12, 2008.
  210. Darden, pg. 11
  211. Darden, pg. 197

Further reading

  • The Literature of Rock II-III (1979–1990). 2 volumes. Metuchen, New Jersey: Scarecrow Press.{{cite book}}: CS1 maint: others (link)
  • Frith, Simon (1978). "Rock and Sexuality". Screen Education (29). (republished in Simon Frith; Andrew Goodwin, eds. (1990). On Record: Rock, Pop and the Written Word. New York: Pantheon Books. pp. 419–424.)
  • Gillett, Charlie (1970). The Sound of the City. The Rise of Rock and Roll. London: Souvenir Press.
  • McCoy, Judy (1992). Rap Music in the 1980s: A Reference Guide. Metuchen, New Jersey: Scarecrow Press.
  • Spottswood, Richard. Ethnic Music on Records: A Discography of Ethnic Recordings Produced in the United States, 1893–1942. Urbana, Illinois: University of Illinois Press.
  • Hitchcock, H. Wiley; Stanley Sadie (1986). The New Grove Dictionary of American Music. Macmillan Press.
  • Sanjek, Russell (1988). American Popular Music and Its Business: The First Four Hundred Years. 3 volumes. New York: Oxford University Press. ISBN 978-0-19-504028-9.
  • Southern, Eileen (1971). Music of Black Americans. New York: W.W. Norton & Co. ISBN 0-393-03843-2.
  • Stokes, Geoffrey (1976). Music-Making Machinery. Indianapolis: Bobbs-Merrill.
  • Tagg, Philip (1979). Kojak – 50 Seconds of Television Music: Toward the Analysis of Affect in Popular Music. Gothenburg: Skrifter fran Musikvetenskapliga Institutionen.
  • Walser, Robert (1993). Running With the Devil: Power, Gender, and Madness in Heavy Metal Music. Hanover, New Hampshire: Wesleyan University Press/University Press of New England.

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