Popular Music in America:The Beat Goes On

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Cengage Learning, Jan 1, 2012 - Education - 432 pages
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Michael Campbell's best-selling POPULAR MUSIC IN AMERICA, now in its fourth edition, remains the industry standard in breadth of coverage, readability, and musical focus. The text provides a rich account of the evolution of popular music from the mid-19th century to the present. Discussions highlight connections, contrasts, and patterns of influence among artists, styles, and eras. Coverage of listening skills allows students to place music of their choice in context. The Fourth Edition expands the coverage of country, Latin, world, and late 20th century music to give instructors more options to teach the course as they choose to. A major reorganization replaces long chapters with units broken into small chapters to make the material easier for students to read and master. Units are clearly defined by style and timeframe, and chapters feature narrowly focused objectives. This edition features a vibrant, richly illustrated, magazine-like design, plus numerous online resources. Almost all listening examples are available on iTunes via dedicated playlists; instructors who adopt the text will also receives copies of the heritage 3-CD set from the 3rd edition for personal, library, and class use.
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About the Author
Talking about Popular Music
The Beginnings of American Popular Music
The Emergence of Black Music
Popular Song in the Modern Era
The Swing Era
The Rock Revolution 19641970
Rock and RB after 1970
New Trends of the Late 1970s
Latin Music since 1960
Country Music in the Rock Era
Electronica and Rap
Beyond Rock in the 1980s

Blues and Black Gospel Come in from the Outskirts 19251950
Country and Folk Music Come in from the Outskirts
Latin Music in the United States 1900s1950s
Popular Music Matures Musical Theater Modern Jazz and Song Interpretation
Rhythm and Blues 19461954
Rock and Roll
A World of Music

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About the author (2012)

Michael Campbell is a writer and pianist. A California native, he is a Phi Beta Kappa graduate of Amherst College and holds a doctorate from Peabody Conservatory, where he studied piano with Leon Fleisher. As a commercial musician, he has assisted such artists as Angela Lansbury, Gladys Knight and the Pips, Bob Hope, Redd Foxx, Ethel Merman, and Don McLean. As a concert pianist, he has performed a broad range of repertoire, including his own transcriptions of recordings by Art Tatum, Jelly Roll Morton, and other legendary jazz pianists. He also performs all of the piano selections included with this textbook.

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