Beruflich Dokumente
Kultur Dokumente
MUM707
Meredith White
Maria Busen-Smith
Kaewalin Prasertchang
MA in Music Education
K0733740
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What were the social developments that led to the development of rock ‘n’ roll in America and
While popular music has changed significantly in the past few decades, the music itself would
not have developed without the involvement of societal influences. Throughout musical history there
has been a link between the wider historical context of musical styles and many factors, such as,
changes in the society, political and economic issues and culture. These factors are important as they
place an emphasis on beliefs, attitudes, and the living conditions of people in society, as well as
While some sociologists and historians suggest that there are two factors that had an impact on
the development of this genre, the first being the personal history of the artist and the second, societal
context (Moore, 1993). Indeed, when considering the development of rock ‘n’ roll music, Longhurst
notes that ‘the development of rock ‘n’ roll in the 1950s is often presented as a kind of liberation from
Therefore, in order to analyze music in a historical context, three important interactions that
have to be considered are the social, economic and technology (Wall, 2003). Thus, these factors will
be considered in the analysis of the development of rock ‘n’ roll music. Figure 1 describes the
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Figure 1: A model of historical analysis
Wall, Tim, Studying Popular Music Culture: Studying the Media (London: Arnold, 2003:19)
According to Cohen (1997), the term Rock ‘n’ roll was first used by Alan Freed, a disc jockey
from New York, in 1954 and became its biggest popularize in 1955. When studying on the history of
rock ‘n’ roll music, it can be seen that, in many ways, ‘Rock'n'roll was, therefore, an almost inevitable
synthesis of the USA civilization of the 1950s’ (Scaruffi, 2003:14). Scholars divide this into two
generations, the first being the time between 1953 and 1955, when most rock ‘n’ roll artists were
Black, and the second, the time from the 1956 onward, when most were White (Friedlander, 1996).
While most scholars state that rock ‘n’ roll music was an after-effect of change taking place
within American Society, and exploding in the mid-1950s (see Middleton, 1990; Bradley, 1992;
Friedlander, 1996; Yamasaki, 1996; Negus, 1996; Shuker, 2002), it is evident that from the mid-1940s
it contained musical elements from ‘African-American music’, such as the syncopated rhythms, raw
vocal emotionalism, and ‘call and response’ (Friedlander, 1996:16). These Black musical genres
contributed to rock ‘n’ roll music were the blues, gospel, and rhythm and blues (R&B).
Furthermore, during the years of slavery and the decades immediately after the First World
War, especially the 1930s and 1940s, through to the 1950s, there was an increasing population of
Black people in the United States. These communities existed in separation from the White
population, and throughout whole of that period musical change was relatively self-directed, with an
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amount of borrowing and altering of White musical materials. Indeed, there was also borrowing,
exploitation and altering of Black music by the White communities throughout the period too
(Bradley, 1992).
Social development
In consequence, an important issue that has to be considered, when describing rock ‘n’ roll
music is the racism in the society, which is one of the biggest issues in the United States. There are
many definitions of racism declared by many sociologists. Wellman describes racism as ‘culturally
sanctioned beliefs, which, regardless of intentions involved, defend the advantages Whites have
because of the subordinated position of racial minorities, […]’ (1993: x). However, a ‘total racist
society’ can be representative of the characteristic of the United States because racism is used to
categorize every social institution (Feagin, 2000:16). Further, he states the clear definition that
demonstrates racism as an attitude of prejudice that exists apart from the organization of social
structure.
The demanding vision of the function that race and racism had played in rise of rock ‘n’ roll
was since 1950s. In that period, the local radio stations and record stores were reflecting the tastes of
the Black communities. Middleton (1972), as cited by Bradley (1992) affirms that the importance of
music in Black society has to be seen as one of culture which was different from White society. As
the result, there was increased racial integration between White and Black people, which allowed
White people to learn the more emotional life of Black people. As can be seen that today, as in the
past, racial oppression is not just a surface-level feature of the American society, but rather pervades,
and be integrated all major social groups, and institutions across the society (Potter, 1999).
Furthermore, as can be seen that rock ‘n’ roll music was made possible by the combination of
demographics and individual musical creativity changes which related to the increases of the ‘baby
boom’ generation (Cohen, 1997; Shuker, 2002). While the teenagers listened and were passionate
about this kind of music, most adults found it unapproachable. Nuzum (2001), as cited by Dollarhide
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(2001) describes that in the 1950s the people believed that ‘Allowing White children to listen to Black
music will lead to the mongrelization of America’. Part of the reason adults were resistant to rock ‘n’
roll was because they saw the music, which was influenced by rhythm and blues, as a primarily of
From the turn of century to the present, there were a variety of changes in U.S. society, of
which the developments that were most important in the story of rock ‘n’ roll music will provide the
focus. One change in Western society that influenced music occurred at the end of the Second World
War. The young-working class became the driving force behind musical creation and production.
Therefore, in order to get information of depth about rock ‘n’ roll, study has to be made of the
progress of musical style and its influence on the young American teenager. Teenagers in the society
were the important factor relating to the development of rock ‘n’ roll, indeed Wall indicates that ‘Rock
At this stage, when traced back to the advent of rock ‘n’ roll rock ‘n’ roll in 1950s, the
importance of popular music can be seen as an aspect of ‘youth culture’, during the period following
the end of Second World War. Additionally, it has been evident that ‘music plays a central role in the
process of identity construction of young people’ (Roe 1996:86). There was developed to the big
changes in society as rock ‘n’ roll music became known in America and eventually became a
revolutionary tool as young people began searching for an identity. Rock ‘n’ roll invented the notion
of a rebellious youth, as teenagers were historically major consumers of rock ‘n’ roll music. Mostly,
the music had primarily aimed at the youth markets (Scaruffi, 2003).
Referring to Yamasaki (1996), during the Second World War, the economy in the U.S. was
depressed and people lived with its consequences. This is the reason that, teenagers did not have a
chance to continue to study in higher education, and did not have freedom and the right to make their
own decisions because culture supported strong parental authority. Further in the 1950s, social and
economic conditions were totally different when compared to life before the Second World War.
Thus, teenagers had greater freedom and opportunity to do the things that they wanted without the
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responsibilities of adulthood. Rock ‘n’ roll reinforced this ‘generation gap’, which is the
discrimination in the way of thinking between the younger generation and the older generation
(Bradley, 1992).
The many versions of youth culture, as already generally noted above, have their roots in
several things, for example, socio-economic and the technological development (Bennett, 2000).
Moreover, as can be seen from the argument that the culture of rock ‘n’ roll was ‘far exceeded any
political or cultural movement that had preceded it (Scaruffi: 2003). Rock ‘n’ roll influenced on the
teenager in many ways, for example, the fashion, language, attitude, or even the attitude toward the
political. The records of this kind of music can sell all around the world. As this result, the music that
had the meaning as the ‘Underground music’ at that time, changed the meaning to the ‘Popular music’
The music industry is one of the key drivers of rock ‘n’ roll music. With the purpose of
describing the economy of the music industry, it is necessary to trace back to the starting point. Since
the early and mid-1950s, there are a numbers of music industries, for example the independent
recording companies, publishing house, and radio stations, that had already existed in America
(Bradley, 1992). In addition, the numbers of radio stations increased significantly because the license
and regulation to broadcast had been allowed in the United States by the Federal Communications and
Commission (FCC) (See Longhurst, 1996; Shuker, 2002). Similarly, Middleton (1990) argues that the
music industry was developed in the United States and it might be divided into three periods as
follows:
Firstly, the development began during the late 18th century and early 19th century, which called
the ‘bourgeois revolution’ (Middleton, 1990:13). It was the time when commercialism controlled the
production of music. At that time, there was a marketing system starting to develop through musical
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activities. The musical production was largely organized by the promoter, concert organizers, public
Secondly, it was the time in the 1890s, when the ‘mass culture’ had been introduced to society.
Further, the new form of musical style, for example ragtime, jazz, Tin Pan Alley songs, and new dance
forms were contributed. Accordingly, at that time many independent recording companies were
established and took an important role in developing the music industry. Moreover, it is also about the
growth of small independent record companies (Friedlander, 1996). Negus (1992) assumes that there
are six companies that helped create the music industry, especially regarding popular music genres.
These companies are MCA, BMG group, Warner Music International, EMI Music, Polygram and
Sony Music Entertainment. Some suggest that the record companies being based in specific locations
Besides, there is the argument that the control of the American Society of Composers, Authors
and Publishers (ASCAP) is one of the causes of the development of rock music (Peterson, 1990). The
ASCAP was established to issue licenses and to control the production of music before it was
presented to the listener, or broadcasted on the radio. Since rock ‘n’ roll was introduced to society,
there have been numerous people who listen to this kind of music. One of the most important
elements that promote Black music is the rise of disc jockeys (DJ) that presenting it to the market of
youth white radio listeners and record buyers (Cohen, 1997). Therefore, as Bradley (1992) states, in
the 1950s there were increasing numbers of young White people, who listened to the music which
became known as rock ‘n’ roll. As a matter of fact, the music industry was concerned about this
matter and developed the market for Black music in a mostly White market. As can be seen that many
early 1950s rock ‘n’ roll songs were originally written or performed by Black artists, then it were later
re-recorded by popular White artists and made available to the audiences (Brunner, 2006) Moreover,
as can be seen in 1955 there was an establishment which applied for the private sector rules of mass
marketing for this new product, and sanctioned its existence from nothing against the forces of private
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Finally, Middleton (1990) notes that the beginnings of rock ‘n’ roll music can be termed the
moment of ‘pop culture’, because at that time, there was the development of the world market and
also a change in technology. The invention of the technology was an important factor in introducing
The Technology
After the Second World War, as is often the case after a war, the economy began to grow and
life began to get better. During the mid-1950s, there are a variety of significant elements in
technological innovation which had an impact on an increasing music industry (see Longhurst, 1996;
Negus, 1996). Middleton (1990) states that there were technological changes which based around the
electronic system for example, the development of television, which made it possible to deliver the
performers’ or artists’ images to the audiences, who stay at home. Further, there was the development
of the portable transistor radio, which was first manufactured by Sony Company in 1955, in order to
Moreover, new kinds of production were used in the music industry, for instance, magnetic
tape replaced the music score, the widespread transmission of the radio, and the widespread use of
juke-box. Another significant change was the use of the small seven-inch single vinyl record that
played at 45 RPM, developed by Radio Corporation of America (RCA) in the early 1950s (Shuker,
2002). From this time, various kinds of music were easier to introduce to the listener, including rock
‘n’ roll music. As a final point, all of these were the main factors that had an impact on the music
On the other hand, as it were, the key change of the musical style in Britain was when rock ‘n’
roll was introduced to the society. While many scholars focus on the arrival of rock ‘n’ roll in Britain
during the 1950s, they faced the problem that at that time there is ‘no history of popular music in the
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UK exists’ (Cloonan, 2007:8). Fortunately, Moore claims that it seems that rock ‘n’ roll from the
United States influenced on British popular music: ‘[…] rock in Britain is considered to have
developed as an import of styles established within the USA (i.e. rock ‘n’ roll and urban blues) […]
’ (1993:34). Moreover, there is the argument show that the British popular music was written and
performed in an ‘Americanized’ style (Bradley, 1992:88). Indeed, from the turn of the century to the
present, there are mixtures of changes in British society. The goal here is to draw attention to the
development that is most important in the story of rock ‘n’ roll music.
Cloonan (2007) notes that in the mid-1950s, it was the time of a post-war recover in Britain.
In that period, there was the occurrence of the teenager, between childhood and adulthood. Before
rock ‘n’ roll arrived in Britain, there were other subcultures and styles of music in British society, for
instance, the ‘Beats and Hipsters’ and the ‘Teddy boy’ that had already existed since early 1950s, and
the ‘Skiffle’ (e.g. Lonnie Donegan) that was the style taken from traditional American jazz band (See
Bready, 1992; Shuker, 2002). Furthermore, Bradley (1992) notes that during that time ‘Beat Music’
According to Moore (1993), the style of rock ‘n’ roll music from the United States was first
introduced to Britain by Muddy Waters in 1957. Since then, rock ‘n’ roll was increasingly accepted
by the middle class people in the society, largely among the teenagers. In addition, rock ‘n’ roll music
used mostly amplification electronic instruments, such as the electric guitar, electric bass, and drum
set. This was new things in the British society and had impact on the teenager audiences, as they
seem to like and accept this kind of music (Breadley, 1992). Additionally, since American rock ‘n’
Roll music had and impact to the world in 1950s, the most significant British musical band that
represented the rock ‘n’ roll music is ‘The Beatles’. After The Beatles formed the band in 1956, their
music made real impact on the music scene from 1962. Moreover, they were performing the music
that later call ‘British rock’. Everett (2001) notes that among the Beatles first releases were covers of
the rhythm and blues from the U.S., such as ‘Roll Over Beethoven’ of Chuck Berry.
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Referring to Moore (1993), the economic situation of record companies was the key driver of
rock ‘n’ roll in Britain in mid-1960s. After the Second World War, there was an impact from the
American entertainment industries enable to colonize the British working-class market. Bradley
(1992) claims that among those American products, the most successful in British market was the
music. For example, the ‘Bill Haley and the Comets’ that was successful in British music industry,
many of their music, such as ‘Rock Around the Clock’, and ‘Saints Rock and Roll’ were entered the
British ‘Top Twenty’ in 1955, 1956, and 1957. Bradley also states that ‘These records established a
first style, a preliminary definition and presence, of rock ‘n’ roll in Britain’ (1992:55).
Conclusion
In conclusion, when looking back to the history of rock ‘n’ roll music, one can see that it has
changed radically in the past decades and still develops as the basis of another genre, such as Rock,
Funk, and so on. Despite the changes in this world, rock ‘n’ roll music seems to remain as a stable
entity. Moreover, although other musical styles have overtaken it in popularity, rock ‘n’ roll is still
present in every decade. Rock ’n’ Roll is music of strong, loud, fast beats, popular among the
teenagers. Teenagers tend to have restless mind because they want to search themselves and the
society. In the 1950s, rock ‘n’ roll music can arouse their minds of insufficient concentration, and
enchant then easily with the sound and the rhythm As an influential musical style that is present to
people in society, Rock ‘n’ roll became the representative of many processes in the society, for
instance it became more than entertainment, language and message board. To come to the point, it is
evident that there are social revolutions with in the development of rock ‘n’ roll music.
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Bibliography (by MHRA)
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Palgrave, 2000)
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Routledge, 2000)
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Article:
- Cohen, Ronald D., ‘The Delinquents: Censorship and Youth Culture in Recent U. S. History’,
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- Peterson, R.A., ‘Why 1955? Explaining the Advent of Rock Music’ , Popular Music Journal
- Roe, K., ‘Music and identity among European youth’, Music in Europe (European
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Internet Sources:
< http://www.freedomforum.org/templates/document.asp?documentID=13870>
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