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Chapter 04: Essay
Essay
1. Why did Emile Berliner’s flat disk replace Thomas Edison’s wax cylinder, and why did this
technical reconfiguration matter in the history of mass media?
ANSWER:
Using ideas from Edison, Bell, and Tainter, Emile Berliner, a German engineer who
had immigrated to America, developed a better machine that played round, flat disks,
or records. Made of zinc and coated with beeswax, these records played on a
turntable, which Berliner called a gramophone and patented in 1887. Berliner also
developed a technique that enabled him to mass-produce his round records, bringing
sound recording into its mass medium stage. Previously, using Edison’s cylinder,
performers had to play or sing into the speaker for each separate recording. Berliner’s
technique featured a master recording from which copies could be easily duplicated
in mass quantities. In addition, Berliner’s records could be stamped with labels,
allowing the music to be differentiated by title, performer, and songwriter. This led to
the development of a “star system,” wherein fans could identify and choose their
favorite artists across many records.
2. How did sound recording survive the coming of radio?
ANSWER:
By the 1930s, in part because of the advent of radio and in part because of the Great
Depression, record and phonograph sales declined dramatically. In the early 1940s,
shellac was needed for World War II munitions production, so the record industry
turned to manufacturing polyvinyl plastic records instead. Vinyl records turned out to
be more durable than shellac records and less noisy, paving the way for a renewed
consumer desire to buy recorded music.
3. How has the way people listen to music changed in the last decade or so? How might those
changes affect the kinds of music that artists make? What does that mean for music as a part of
culture?
ANSWER:
Music, perhaps more so than any other mass medium, is bound up in the social fabric
of our lives. Ever since the introduction of the tape recorder and the heyday of
homemade mixtapes, music has been something that we have shared eagerly with
friends.
It is not surprising, then, that the Internet, a mass medium that links individuals and
communities together like no other medium, became a hub for sharing music. In fact,
the reason college student Shawn Fanning said he developed the groundbreaking file-
sharing site Napster in 1999 was “to build communities around different types of
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4. Briefly explain how rock and roll muddied the waters of the American cultural landscape in
the 1950s.
ANSWER:
In the 1950s, legal integration accompanied a cultural shift, and the music industry’s
race and pop charts blurred. White deejay Alan Freed had been playing black music
for his young audiences in Cleveland and New York since the early 1950s, and such
white performers as Johnnie Ray and Bill Haley had crossed over to the race charts to
score R&B hits. Meanwhile, black artists like Chuck Berry were performing country
songs, and for a time Ray Charles even played in an otherwise all-white country
band. Although continuing the work of breaking down racial borders was one of rock
and roll’s most important contributions, the genre also blurred other long-standing
distinctions between high and low culture, masculinity and femininity, the country
and the city, the North and the South, and the sacred and the secular.
5. Why did cover music figure so prominently in the development of rock and roll and the
recording industry in the 1950s?
ANSWER:
In the 1950s, the covering of black artists’ songs by white musicians was almost
always an attempt to capitalize on popular songs from the R&B “race” charts by
transforming them into hits on the white pop charts. Often, not only would white
producers give cowriting credit to white performers for the tunes they merely
covered, but the producers would also buy the rights to potential hits from black
songwriters, who seldom saw a penny in royalties or received songwriting credit.
During this period, black R&B artists, working for small record labels, saw many of
their popular songs being covered by white artists working for major labels. These
cover records, boosted by better marketing and ties to white deejays, usually outsold
the original black versions. For instance, the 1954 R&B song “Sh-Boom,” by the
Chords on Atlantic’s Cat label, was immediately covered by a white group, the Crew
got to No. 8 and stayed there for nine weeks.
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Chapter 04: Essay
ANSWER:
Punk rock rose in the late 1970s to challenge the orthodoxy and commercialism of
the record business. By this time, the glory days of rock’s competitive independent
labels had ended, and rock music was controlled by just a half-dozen major
companies. By avoiding rock’s consumer popularity, punk attempted to return to the
basics of rock and roll: simple chord structures, catchy melodies, and politically or
socially challenging lyrics.
The punk movement took root at CBGB, a small dive bar in New York City, around
such bands as the Ramones, Blondie, and the Talking Heads. (The roots of punk
essentially lay in four pre-punk groups from the late 1960s and early 1970s—the
Velvet Underground, the Stooges, the New York Dolls, and the MC5—none of
which experienced commercial success in their day.) Punk quickly spread to
England, where a soaring unemployment rate and growing class inequality ensured
the success of socially critical rock. Groups like the Sex Pistols, the Clash, the
Buzzcocks, and Siouxsie and the Banshees sprang up and even scored Top 40 hits on
the U.K. charts.
With the growing segregation of radio formats and the dominance of mainstream
rock by white male performers, the place of black artists in the rock world
diminished from the late 1970s onward. These trends, combined with the rise of
“safe” dance disco by white bands (the Bee Gees), black artists (Donna Summer),
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Chapter 04: Essay
indies grew to more than one-third of the U.S. recording industry. Indies often still
have business relationships with major labels; about 52 percent of independent labels
use major labels to distribute their music (not unlike how independent film
companies rely on major studios for distribution). (“Independent Labels have a
37.6% Market Share, Says New Report,” Music Business Worldwide, June 6, 2016,
www.musicbusinessworldwide.com/independent-labels-37-6-global-market-share-
says-new-report) Independent labels have produced some of the best-selling artists of
recent years; these labels include Big Machine Records (Taylor Swift, Rascal Flatts),
Broken Bow Records (Jason Aldean), Dualtone Records (the Lumineers), XL
Recordings (Adele, Vampire Weekend), and Cash Money Records (Drake, Nicki
Minaj).
8. What does a typical recording session entail?
ANSWER:
Labels are driven by A&R (artist & repertoire) agents, the talent scouts of the music
business, who discover, develop, and sometimes manage artists. A&R agents seek
out and listen to demonstration tapes, or demos, from new artists and decide whom to
sign and which songs to record. (Now, demos are typically in digital form.)
Naturally, these agents look for artists with commercial potential.
A typical recording session is a complex process that involves the artist, the
producer, the session engineer, and audio technicians. In charge of the overall
recording process, the producer handles most nontechnical elements of the session,
including reserving studio space, hiring session musicians (if necessary), and making
final decisions about the sound of the recording. The session engineer oversees the
technical aspects of the recording session, everything from choosing recording
equipment to managing the audio technicians. Most popular records are recorded part
by part. Using separate microphones, the vocalists, guitarists, drummers, and so on,
are digitally recorded onto separate audio tracks, which are edited and remixed
during postproduction and ultimately mixed down to a two-track stereo master copy
for digital reproduction.
Completion
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3. In the 1940s, the lightweight magnetized strands of _______ made possible sound editing and
multiple-track mixing.
ANSWER:
audiotape
4. A(n) _______ recording is made by capturing the fluctuations of sound waves and storing
those signals in a record’s grooves or an audiotape’s continuous stream of magnetized particles.
ANSWER:
analog
5. A _______ recording is made by translating sound waves into binary on-off pulses and storing
that information as numerical code.
ANSWER:
digital
6. Illegally downloading music is known as _______.
ANSWER:
digital piracy
7. Bing Crosby established himself as one of the first _______, or singers of pop standards.
ANSWER:
crooners
8. Bing Crosby is considered a _______, or a singer of pop standards.
ANSWER:
crooner
9. Before rock and roll, black and white musical forms were segregated, and the music industry
distinguished the pop charts—featuring mostly white music—from the _______ charts—
featuring mostly black music, or R&B.
ANSWER:
race
10. Little Richard’s playful blurring of _______ and sexual orientation paved the way for other
performers.
ANSWER:
gender identity
11. In the 1950s, songs recorded or performed by musicians who did not originally write or
perform the music were called _______; they were an attempt by white producers and artists to
capitalize on popular songs from the R&B “race” charts.
ANSWER:
cover music
12. In 1960, Alan Freed admitted to participating in _______, the practice of record promoters’
paying deejays or radio programmers to play particular songs.
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ANSWER:
payola
13. Buddy Holly died in a _______, a tragedy memorialized as “the day the music died.”
ANSWER:
plane crash
14. _______, an extremely popular and influential rock and roll musician in the 1950s and 1960s,
was drafted into the army.
ANSWER:
Elvis Presley
15. Chuck Berry was _______ for gun possession and transporting a minor across state lines.
ANSWER:
jailed
16. Jerry Lee Lewis was exiled from the industry when he married his young _______.
ANSWER:
cousin
17. _______ is a style of music that depicts the hardships of urban life and sometimes glorifies
the violent style of street gangs.
ANSWER:
Gangster rap
18. Music talent scouts, or _______, discover, develop, and sometimes manage performers.
ANSWER:
A&R agents
Multiple Choice
1. Thomas Edison made his first sound recordings on a cylinder wrapped in tinfoil.
a.
True
b.
False
ANSWER:
a
2. The word phonograph comes from the Latin words phone and graph, which, when put
together, mean “recorded speaking.”
a.
True
b.
False
ANSWER:
b
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3. Thomas Edison initially expected his new phonograph to be used as a kind of telephone
answering machine.
a.
True
b.
False
ANSWER:
a
4. Edison’s early cylinder recordings were made of durable vinyl.
a.
True
b.
False
ANSWER:
b
5. Unlike Edison’s phonograph, Emile Berliner’s gramophone played flat disks.
a.
True
b.
False
ANSWER:
a
6. One advantage of polyvinyl records over shellac records is that they were less likely to break.
a.
True
b.
False
ANSWER:
a
7. A war among vinyl recording disk formats in the late 1940s and early 1950s resulted in the 45-
rpm record format being used exclusively for the release of album music collections.
a.
True
b.
False
ANSWER:
b
8. Audiotape was developed by the Japanese after World War II.
a.
True
b.
False
ANSWER:
b
9. In 1958, after audiotape became more accessible, recordings were made on two separate
channels (tracks or sounds) and were put to commercial use.
a.
True
b.
False
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ANSWER:
a
10. Until the invention of digital recording, records were made using an analog recording
process.
a.
True
b.
False
ANSWER:
a
11. Compact discs hit the market in the early 1980s, and by 2000 their sales were still lagging
way behind the albums and cassette tapes most people were familiar with.
a.
True
b.
False
ANSWER:
b
12. A key factor in the success of the MP3 format is its ability to send or receive music without
having to compress sound.
a.
True
b.
False
ANSWER:
b
13. The music industry has successfully hindered peer-to–peer (P2P) systems, which enable free
music file-sharing.
a.
True
b.
False
ANSWER:
a
14. The music industry—especially major labels—ultimately embraced the MP3 format by
supporting services like iTunes.
a.
True
b.
False
ANSWER:
a
15. Streaming music is quickly becoming the format of choice. We are shifting from ownership
of music to access to music.
a.
True
b.
False
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ANSWER:
a
16. In the 1920s, many radio stations went off the air because they couldn’t afford to pay for the
right to broadcast recorded music.
a.
True
b.
False
ANSWER:
a
17. The popularity of the jukebox caused record sales to drop sharply in the 1930s.
a.
True
b.
False
ANSWER:
b
18. Competition from TV in the 1950s helped the radio and recording industries become allies.
a.
True
b.
False
ANSWER:
a
19. Sometimes called the first integrationist music, rock and roll blurred all sorts of cultural,
class, and geographic boundaries.
a.
True
b.
False
ANSWER:
a
20. Blues music originated in the urban taverns of Southern California.
a.
True
b.
False
ANSWER:
b
21. White Cleveland deejay Alan Freed played black music for his audiences beginning in the
early 1950s.
a.
True
b.
False
ANSWER:
a
22. Elvis Presley created the sound called rockabilly.
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a.
True
b.
False
ANSWER:
b
23. In the late 1950s, singer Little Richard stopped performing rock and roll because he believed
it was the “devil’s music.”
a.
True
b.
False
ANSWER:
a
24. In the 1950s, it was common practice for white artists to cover songs first recorded by black
performers to make black music acceptable to white audiences.
a.
True
b.
False
ANSWER:
a
25. Payola is the practice of record promoters paying deejays to play certain songs on the air.
a.
True
b.
False
ANSWER:
a
26. The first congressional hearings on radio payola started soon after the quiz-show scandals in
television.
a.
True
b.
False
ANSWER:
a
27. The recording industry groomed singers Jerry Lee Lewis, Chuck Berry, and Little Richard as
replacements for rebellious rock and rollers like Frankie Avalon and Ricky Nelson.
a.
True
b.
False
ANSWER:
b
28. British rock-and-roll groups such as the Beatles drew much of their inspiration from black
artists.
a.
True
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b.
False
ANSWER:
a
29. The Rolling Stones emphasized chord-driven rhythms in their music, while the Beatles
stressed melody.
a.
True
b.
False
ANSWER:
a
30. TV host Ed Sullivan promoted the career of the Beatles, but he considered the Rolling Stones
“bad boys.”
a.
True
b.
False
ANSWER:
a
31. Motown music groups had a more stylized, softer sound than the funk music of James Brown
and Wilson Pickett.
a.
True
b.
False
ANSWER:
a
32. Folk was considered the sound of social activism.
a.
True
b.
False
ANSWER:
a
33. Punk rock emerged in the 1970s partly to protest the commercialism of the recording
industry.
a.
True
b.
False
ANSWER:
a
34. Grunge music became a significant form of rock and roll in 1991 as a result of a
breakthrough song by Nirvana.
a.
True
b.
False
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ANSWER:
a
35. Gangster rap developed partly to tell the truth about gang violence in American culture.
a.
True
b.
False
ANSWER:
a
36. Oligopoly is the term for a business situation in which a few firms control most of an
industry; film studios and record labels are examples.
a.
True
b.
False
ANSWER:
a
37. Independent labels have only ever produced about 2 percent of all recordings.
a.
True
b.
False
ANSWER:
b
38. Streaming and downloading music have caused independent music labels to lose market
share.
a.
True
b.
False
ANSWER:
b
39. About 65 percent of all music recordings purchased in the United States are from streaming
services.
a.
True
b.
False
ANSWER:
a
40. Physical recordings made as recently as 2011 accounted for only 25 percent of U.S. music
sales.
a.
True
b.
False
ANSWER:
b
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41. The music industry developed an equivalency standard, with 1,500 song streams from an
album equal to one album sale, and 150 song streams equal to the sale of a single.
a.
True
b.
False
ANSWER:
a
42. Retailers like Walmart and Best Buy mark up CD prices 65 percent above the wholesale
price.
a.
True
b.
False
ANSWER:
b
43. Established music artist Amanda Palmer sells music directly to fans through her personal
website.
a.
True
b.
False
ANSWER:
a
44. A major difference between sound recordings made by Emile Berliner and those made by
Thomas Edison was that ______.
a.
Berliner’s disks were flat
b.
Edison’s disks could be mass produced
c.
Edison’s disks were coated with lampblack
d.
Berliner’s disks were made of vinyl
ANSWER:
a
45. Emile Berliner’s invention of ______ was significant because it allowed for mass
reproduction of sound recordings and for labeling, which enabled the development of a star
system.
a.
wax cylinders
b.
lampblack
c.
flat disks
d.
audiotape
ANSWER:
c
46. Under the compromise reached by CBS and RCA in 1953, the standard for record singles
became the ______ format.
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a.
331/3-rpm
b.
45-rpm
c.
78-rpm
d.
CD
ANSWER:
b
47. Magnetic audiotape and tape players first caught on in the ______.
a.
1950s
b.
1940s
c.
1910s
d.
1890s
ANSWER:
b
48. In 1958, ______ allowed for the recording of two separate tracks of sound, which could be
mixed together.
a.
digital recording
b.
graphophones
c.
MP3s
d.
stereo
ANSWER:
d
49. Which of the following is true about the MP3 music file format?
a.
It creates music files that are very large and slow to download.
b.
It was very important in the fight against the pirating of recorded music.
c.
It makes recording, transferring, and downloading music quicker and easier.
d.
It hasn’t been popular with consumers because MP3 players break easily.
ANSWER:
c
50. Following the Supreme Court’s ruling against Napster in 2001, thousands of lawsuits were
filed against online file-sharing services. What was the result?
a.
Grokster, eDonkey, Morpheus, and LimeWire were shut down in 2010.
b.
Amazon stopped streaming music.
c.
iTunes was sold to Google.
d.
iTunes sold more than fifty billion songs in 2013.
ANSWER:
a
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51. Which of the following is not one of the ways record companies, composers, and recording
artists make their money?
a.
the direct sale of CDs and digital downloads at retail stores
b.
charging fees to radio stations that play their music
c.
the illegal sharing of songs via computer files
d.
selling albums and songs on sites like iTunes and Amazon
ANSWER:
c
52. The biggest seller of recorded music in the United States is ______.
a.
BMG Music Service
b.
Best Buy
c.
Walmart
d.
iTunes
ANSWER:
d
53. Which of the following does not fall into the category of pop music?
a.
rock
b.
country
c.
classical
d.
hip-hop
ANSWER:
c
54. Which of the following boundaries did rock and roll not blur in the 1950s?
a.
the country and the city
b.
the sacred and the secular
c.
masculinity and femininity
d.
old and young
ANSWER:
d
55. In Cleveland, disc jockey Alan Freed attempted to make rock-and-roll music more acceptable
to mainstream audiences by ______.
a.
playing original rhythm-and-blues music and black versions of early rock and roll
b.
playing rhythm-and-blues songs as they were covered by white musicians
c.
developing formatted stations that targeted specific audiences with specific types of
music
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d.
developing payola practices that guaranteed the inclusion of particular songs on
mainstream music stations
ANSWER:
a
56. Little Richard became the first African American artist to chart higher with his own song
than a white cover artist because ______.
a.
he cleaned up the music and lyrics so white audiences wouldn’t be offended
b.
he pretended to be white
c.
nobody cared about race anymore
d.
he wrote and performed a song with lyrics and a style that white artists like Pat Boone
couldn’t imitate
ANSWER:
d
57. The turning point that led to the end of major record labels employing white performers to
cover black rock-and-roll artists’ songs occurred with which event?
a.
Ray Charles scoring a No. 1 hit covering a country song in 1962
b.
The Crew Cuts covering “Sh-Boom” in 1954
c.
Little Richard scoring a hit with “Tutti-Frutti” in 1956
d.
Jimi Hendrix covering Bob Dylan’s “All Along the Watchtower” in 1968
ANSWER:
a
58. Conservative social forces in the late 1950s pointed to Jerry Lee Lewis as an example of
______.
a.
the new clean-cut musicians who were promoted by Dick Clark
b.
southern “white trash”
c.
how musicians could be corrupted by payola
d.
how a young man from the South could realize the American Dream
ANSWER:
b
59. The success of British groups in America in the 1960s led to ______.
a.
the verification that the performers themselves could write and produce popular music
well
b.
the German invasion, led by artists like the Scorpions
c.
the acceptance of later British artists like OneRepublic and Radiohead
d.
the sale of American popular music recordings in Europe
ANSWER:
a
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60. Folk music ______.
a.
is mostly acoustic music that is historically popular with authority figures
b.
is a genre with a rich history of protest lyrics and a focus on social and political issues
c.
used electric guitars and loud drum solos to establish its distinctive sound
d.
has its roots as music composed and written down by so-called Tin Pan Alley
ANSWER:
b
61. The album that broke grunge music into the American mainstream was ______.
a.
Nevermind by Nirvana
b.
Thug Life by Tupac Shakur
c.
Raising Hell by Run-DMC
d.
Dookie by Green Day
ANSWER:
a
62. Which statement best describes the uneasiness between the commercial and artistic sides of
the music business?
a.
Record labels want only cookie-cutter artists, but recording artists don’t want to
compromise their own “sound.”
b.
An artist who criticizes commercial culture might need to sign with a major label and
become part of that culture in order to reach a larger audience.
c.
Record labels rely on the Internet to promote artists, but recording artists feel that this
practice is too commercial.
d.
Artists want to set their own prices, but record labels are unwilling to allow artists too
much freedom.
ANSWER:
b
63. The Sugarhill Gang’s 1979 hit “Rapper’s Delight” ______.
a.
became the first No. 1 hip-hop album on the popular charts
b.
infused hip-hop with a political take on ghetto life
c.
sampled part of another song from the same year
d.
was part of the subgenre known as gangster rap
ANSWER:
c
64. Which of the following statements about hip-hop music is not true?
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a.
It is a broad description of music and culture that includes rapping, sampling/cutting,
and deejays.
b.
It provides a way for artists to debate issues of gender, class, sexuality, violence, and
drugs.
c.
It has lyrics that glorify women and degrade violence.
d.
Some of its most popular artists include Kendrick Lamar and Lizzo.
ANSWER:
c
65. Hip-hop’s most controversial subgenre is most likely ______.
a.
grunge
b.
rock
c.
gangster rap
d.
K-pop
ANSWER:
c
66. In economic terms, the recording industry is best described as ______
a.
a monopoly
b.
a big friendly family business
c.
an oligopoly
d.
alternative-music heaven
ANSWER:
c
67. Which of the following large corporations is not one of the major firms controlling national
and international music distribution today?
a.
RCA
b.
Sony Music Entertainment
c.
Warner Music Group
d.
Universal Music Group
ANSWER:
a
68. Which statement best describes the relationship between small independent music labels and
the major music labels?
a.
Each survives only by trying to put the other out of business.
b.
The major labels are better able than indies to use downloads and streaming.
c.
Independent labels often rely on major labels for distribution.
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d.
Independents distribute only mainstream music while the majors cover niche markets
and discover new talent.
ANSWER:
c
69. An A&R (artist & repertoire) agent typically ______.
a.
makes decisions about the final sound of a recording
b.
listens to demo tapes and scouts talent for record labels
c.
chooses studio recording equipment and manages audio technicians
d.
makes distribution arrangements with major retailers
ANSWER:
b
70. Which of the following statements accurately represents how independent musicians use the
Internet?
a.
The Internet is a big obstacle for new musicians because they lose money on illegal
song downloads.
b.
The Internet doesn’t really have much of an impact on new or independent musicians.
c.
The Internet provides an inexpensive way for new artists to both distribute and
promote their music and create a fan base using social networking sites.
d.
No musicians have been able to use the Internet to launch a mainstream music career.
ANSWER:
c
71. Which of the following statements about the music industry and the Internet is true?
a.
Musicians and music companies are afraid to use the Internet to market new music.
b.
No one will spend money for music if they can download it for free.
c.
Artists who use the Internet to generate a fan base can improve their chances of being
signed by a major label.
d.
No musicians have experimented with bypassing record labels and selling their music
directly on the Internet.
ANSWER:
c
72. Music acts generally do better, cutting out the retailer and keeping more of the revenue
themselves, by ______.
a.
selling music on their own websites or selling CDs at live concerts
b.
signing with a major label
c.
waiting to be discovered
d.
hiring a manager
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Chapter 04: Essay
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Page 20
ANSWER:
a
73. Which of the following is not an example of an increasingly popular place for fans to sample
and discover new music?
a.
Google
b.
SoundCloud
c.
Hype Machine
d.
YouTube
ANSWER:
a
74. Pop has a history of doing all of the following except ______.
a.
reproducing and reinforcing racial and gender equality
b.
challenging racial, gender, and other stereotypes
c.
encouraging rebellion and confrontation with authority
d.
toning down content in order to increase profits
ANSWER:
a
75. Tipper Gore’s Parents Music Resource Center led to ______.
a.
lower prices for music
b.
higher royalty rates for artists
c.
monopolistic control of the music industry
d.
music advisory labels
ANSWER:
d