Written assignment

2 - Written assignment (including essay) - 80

Short analysis

1 - Written assignment (including essay) - 20

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<ul><li>Context of Post-War Britain</li><li>Music in the 1940s and 1950s, the growth of the teenager and the DJ</li><li>The 1960s – key bands, cities, subcultures and counter-culture</li><li>Music after the oil crisis and during the beginnings of neo-liberalism</li><li>Urban case studies: including London, Liverpool, Manchester, Sheffield</li><li>The Thatcher era and post-punk</li><li>The 1990s, Cool Britannia and Britpop</li><li>Music in contemporary multicultural</li></ul>

Feedback is provided in a number of ways throughout your module. This includes feedback you receive during teaching from both peers and lecturers and that provided for formative assessment. Following an assessment, you will be given your marks and feedback in line with the assessment regulations and policy. More information on the timing and type of feedback that will be provided for each assessment will be available from the module leader. <a href='https://www.citystgeorges.ac.uk/about/governance/policies/student-policies-and-regulations'>https://www.citystgeorges.ac.uk/about/governance/policies/student-policies-and-regulations</a>

This module will support the development of all the graduate attributes. Your module leader will provide you with information about how your learning, teaching and assessment activities support your development of these attributes. The graduate attributes are: - Always learning - Engaged in the world - Technical and digital - Connected Professional - Creating Impact

Self-directed - 

In-Person - 

Running with the Devil: Power, Gender, and Madness in Heavy Metal Music

Winds of Change: Britain in the Early Sixties. 

Never Again: Britain 1945-1951

Rejoice! Rejoice! Britain in the 1980s. 

Sound Effects: Youth, Leisure and the Politics of Rock ‘n’ Roll

England’s Dreaming: Sex Pistols and Punk Rock. 

The Sound of the City: The Rise of Rock and Roll

Crisis? What Crisis?. 

Black Popular Music in Britain Since 1945. 

Never Had It So Good; A History of Britain from Suez to the Beatles

Network of Sound, Style and Subversion: The Punk and Post-Punk Worlds of Manchester, London, Liverpool and Sheffield, 1975-80

Last Night a DJ Saved My Life: The History of the Disc Jockey

White Heat: A History of Britain in the Swinging Sixties 1964-1970.

All In It Together: England in the Early 21st Century

Understanding Society through Popular Music

The History of Live Music in Britain, three volumes

Decline, Renewal and the City in Popular Music Culture: Beyond the Beatles

A Classless Society: Britain in the 1990s

The Cambridge Companion to Pop and Rock

Teenage: The Creation of Youth 1875-1945

Rocking the Classics: English Progressive Rock and the Counterculture. 

Having it So Good: Britain in the Fifties

Sound, Society and the Geography of Popular Music

The Sixties: Cultural Revolution in Britain, France, Italy and the United States, c. 1958- c. 1974

The Last Party; Britpop, Blair and the demise of English rock

SG2065 - British Music and Society Since 1945

SG2065-PRD2-PER-ALV1

The course will consist of 10 x 2-hour sessions (a 1-hour lecture followed by a 1-hour seminar/workshop). Before each of the seminars, students are expected to have completed in advance some set reading and listening, which would usually be expected to take around 3-4 hours in total. This will generally be related to the lecture content from the previous week, and involve more in-depth treatment of some of the subjects discussed then. The seminar will involve a range of questions coming out of these, to be supplied at the beginning of the session, and for which students will divide into groups to discuss these.

British Music and Society Since 1945

Correctly reference academic work and engage with it critically.

Values and attitudes

Appreciate difference between academic writing and other forms (journalistic, online, etc.)

Critically evaluate the basic foundations in approaches to cultural history and cultural sociology, in terms of two-way critical engagement with music and history/society.

Skills

Respect peers and other academics, value their work and be conscious of the need to avoid plagiarism.

Identify and assess the ways in which such music can be viewed as a form of commentary upon the wider society in which it exists.

Knowledge

Critically evaluate the ways in which such movements in music can be argued to have been informed by wider social and cultural developments.

Construct a wider analysis of social changes and development in relate to different musics.

Assess the context and reception of musics on the basis of primary sources.

Assess the major developments in British music history since World War Two, in terms of different styles (including some basic aural familiarity), movements, and associated subcultures.

Appreciate the contributions of different demographics and regionalities to the development of musical landscape.

Recognise and identify basic stylistic features of a range of different musics.