8-9 pages totalPart 1.Album: Sgt. Pepper’s Lonely Hearts Club BandSongs: Lucy in the sky with diamonds; good morning, good morning; within you without you.Extra Credit: Favorite song is Come Together. write a paragraph o it please


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Professor Elizabeth Upton
Office: 2424 Schoenberg Music Building
Office hours: Tuesdays, 3:00 – 5:00 PM, and by appointment
Lecture: T & Th 11:00 AM – 12:50 PM
1100 Schoenberg Music Building [SMB]
Teaching Associates and Discussion Sections:
Ciera Ott
Friday 9:00 -9:50 AM
Friday 10:00 -10:50 AM
1440 SMB
1440 SMB
Racquel Bernard
Friday 11:00 -11:50 AM
Friday 12:00 -12:50 PM
1440 SMB
1440 SMB
Pheaross Graham
Friday 1:00 -1:50 PM
Friday 2:00 -2:50 PM
1440 SMB
1440 SMB
Breena Loraine
Friday 8:00 -8:50 AM
Friday 9:00 -9:50 AM
1420 SMB
1420 SMB
Helen Rowe
Friday 5:00 -5:50 PM
Friday 6:00 -6:50 PM
1440 SMB
1440 SMB
Wade Fulton Dean
Friday 1:00 -1:50 PM
Friday 2:00 -2:50 PM
1420 SMB
1420 SMB
Patrick Gutman
Friday 3:00 -3:50 PM
Friday 4:00 -4:50 PM
1420 SMB
1420 SMB
Marissa Ochsner
Wednesday 3:00-3:50 PM
Wednesday 4:00-4:50 PM
1344 SMB
1344 SMB
This course is an examination of the music of the Beatles within the social, economic,
historical, and artistic contexts of the 1960s. Using recordings, films, and written material we
will examine the Beatles, their artistic circle, their fans and detractors as significant historical
actors. Our overall focus for the quarter will be to understand the musical interactions between
composers, performers, and listeners, and to explore how meaning arises for listeners from the
experience of music. We will examine how the Beatles used elements of music and poetry in
creating their musical works; how others, including producers and recording engineers,
contributed to that creation; and how listeners in the UK and the US experienced their music in
the past, and continue to experience it today.
Required readings will be posted in .pdf form on the course website, by week.
Recommended Reading:
Jonathan Gould, Can’t Buy Me Love: The Beatles, Britain, and America (2007).
Audio materials (including all the UK and US Beatles albums and singles in both mono and
remastered stereo) will be made available online through the UCLA Music Library Online
Reserves. The listening assignments are central to the class goals and objectives: they are the
equivalent of novels or poems in a literature class.
YouTube videos as well as streaming video will be made available online.
Attendance at all class meetings (including discussion sections) is assumed, and participation
in class will be counted as part of your grade. (For attendance and other class policies, see
Class Policies, below.) Please do all assigned reading and listening before the class meeting
where the material will be discussed. Lectures contain information and analysis in addition to
the readings.
All PowerPoint slides shown during lecture will be posted by the end of each week on our course
webpage. (This means you don’t have to photograph PowerPoint slides during lectures!)
NB: I use PowerPoint primarily as a way to show visual material (photos, song lyrics, listening
guides, quotations, etc.), and not as an outline of the lecture. Take notes in class: you will not be
able to reconstruct the lectures from the PowerPoint slides alone.
Your grade will be based on Discussion in section (20%), Weekly Online Writing
Assignments (30%), a Midterm (20%), and a Final Exam (30%).
1. Discussion Sections = 20% of final grade
Once a week, 50 minutes. Discussions will cover a mix of material from readings and
lectures, as well as new material each week. Attendance will be taken.
2. Online Writing Assignments = 30% of final grade
We will be using our class website’s Discussion Forums for online discussions.
Your online forum will be labeled with the same letter as your section, 1A-1P.
Each week you will be responsible for posting at least two posts to your group’s
• Your first post each week (2 points) will discuss your response to the week’s prompt.
This first post must be at least two to three paragraphs long. After you post your own
response, you may read your classmates’ posts.
• Your second post each week (1 point) will be a response, of at least one paragraph, to
another student’s post. 3 points per week x 10 weeks = 30 points/30% of your final grade.
Your first post will be due by 5 pm on Tuesdays, and your second will be due by 5 pm
each Thursday afternoon. The prompt for the next week’s post will go live on Fridays.
The professor and TAs have access to all discussion groups, and will monitor all the
posts for appropriateness.
I strongly recommend typing your response using a word processor and then cuttingand-pasting your post into the forum. Do not attach your response as a document to a
forum post; instead, paste the words directly into the dialogue box.
3. Examinations = 50% of final grade (midterm = 20%; final = 30%)
There will be two exams in this course, a midterm and a final. Both exams will be “Take
Home” open-book exams, and you will have a week to write each of them. The midterm
exam (20% of your final grade) will focus on listening, readings and class lectures thus
far. You will be asked to describe and comment on individual songs as well as entire
albums from the first five Beatles albums (Please Please Me through Help!, plus singles).
The final exam (30% of your final grade) will include both essay and listening portions.
As with the midterm, you will be asked to describe and comment on individual songs and
albums covered in class since the midterm (Rubber Soul through Let It Be, plus singles).
Additional essay questions will be based on the entire quarter’s course lectures and
Course Website: The course website can be accessed through the UCLA Common
Collaboration and Learning Environment (CCLE) service. The course syllabus, readings, and
video will be posted on the course website.
Academic Honesty: Details of the University policy can be found at the Office of the Dean of
Students website (https://www.deanofstudents.ucla.edu/Academic-Integrity). Violation of this
policy includes, but is not limited to: cheating (failure to observe the rules of an academic
exercise); multiple submissions (submitting the same assignment for different classes); and
plagiarism (taking someone else’s words or ideas and passing them off as your own). If you
use someone else’s work as a reference, the original author must be cited properly.
Late assignments: For our use of the online writing forums to work as planned, you all must
submit your first posts on time so the other people in your section have time to read them.
That said, if you miss the deadline for a post, write it anyway! We will accept late posts, for
half credit (1 point instead of 2); for late responses, see your TA.
Illnesses: If you will miss a section due to illness, please email your TA before the section that
you will be missing (if possible). Several absences due to illness (yours or a family member’s)
may require a doctor’s verification. If you will miss a lecture due to illness, you don’t have to
email anyone! DO get notes for the lecture you missed from a classmate. If, after having read
your classmate’s notes, you have questions about the material you missed, please come to my
office hours, and/or your TA’s office hours and we’ll be more than happy to answer them. But
note: we cannot recreate an entire lecture for you in office hours! Get the notes (and read
them) first.
Make-up Exams: Make-up exams should not be necessary, as you will have a week to write
each one. However, if you realize that a school-related conflict will cause difficulty for you
with the deadline for an exam, please email your TA (cc: me) with documentation well before
the exam in question. It may be possible to adjust the exam dates under very specific academic
and/or school-related conditions.
Electronics: Please silence your phone during class, including alerts for texts, etc. If you
absolutely must respond to an urgent message during class, be as discreet as possible. I allow
the use of laptops for taking notes during class. However, please DO NOT use your laptop or
other electronic devices for activities unrelated to our class during lectures. The TAs and I
reserve the right to act in defense of class atmosphere and its learning goals if electronic
devices become a significant distraction. Seriously, don’t cheat yourself: when you’re in
class, BE in class! Don’t distract yourself (or others) (including your professor!) by engaging
with non-class material during class.
Grades: If you have a concern regarding your performance in this class, you must discuss it
with me in person, during my office hours (or by appointment). In order to be fair to you,
neither I nor the TAs can discuss your grade with you informally.
Grading Scale
A+ 97-100
A- 90-92
B+ 87-89
B- 80-82
C+ 77-79
Below 60
Incompletes: [UCLA Policy] Incompletes are given only under extenuating circumstances, with
documentation that satisfactory progress was being made before the need for the incomplete
occurred (i.e. sudden serious illness that would prevent you from completing the course).
If you are having difficulty in this or any other course, a withdrawal is the more appropriate
If you are already registered with the Center for Accessible Education (CAE), please request
your Letter of Accommodation on the Student Portal. If you are seeking registration with the
CAE, please submit your request for accommodations via the CAE website. Please note that
the CAE does not send accommodations letters to instructors–you must request that I view
the letter in the online Faculty Portal. Once you have requested your accommodations via the
Student Portal, please notify me immediately so I can view your letter.
Students with disabilities requiring academic accommodations should submit their request for
accommodations as soon as possible, as it may take up to two weeks to review the request.
For more information, please visit the CAE website (www.cae.ucla.edu), visit the CAE at
A255 Murphy Hall, or contact them by phone at (310) 825-1501.
Modifications to the Syllabus:
The Instructor and the University reserve the right to modify, amend or change the syllabus
(schedule, course requirements, grading policy, etc.) as the curriculum and/or program
require(s). As regards specific reading, writing or listening assignments, changes should be
expected as the quarter progresses.
READ: Ray Connolly, “John Lennon 1940-1980”
Week 1 Readings: Cynthia Lennon, “A Twist of Lennon,” excerpt (1978)
Mike Evans, “The Arty Teddy Boy” (1987)
Simon Firth and Howard Horne, “Art into Pop” (1987)
Brian Epstein, “A Cellarful of Noise,” excerpt (1964)
For Section, read Bob Stanley, Yeah, Yeah, Yeah: The Story of Modern Pop,
“Prologue” (2013, .pdf online)
1. Tuesday, January 8
The Beatles’ career; Musical Play and Meaning
2. Thursday, January 10
Liverpool; US and UK; Rock and Roll and Skiffle
January 9/ 11
Discussion Section
READ: Week 2 Readings: Maureen Cleave, “Why the Beatles Create All That Frenzy” (1963)
Stanley Reynolds, “Big Time” (1963)
Michael Braun, “Love Me Do: The Beatles’ Progress,” excerpt (1964)
3. Tuesday, January 15
Hamburg, London, and “Love Me Do” (1962)
4. Thursday, January 17
Please Please Me (March 1963);
“She Loves You” (Aug. ’63)
January 16/ 18
Discussion Section
READ: Ehrenreich et al., “Beatlemania: Girls Just Want to Have Fun”
Greil Marcus, The Beatles (1979), especially “Another View of the Chair”
Week 3 Readings: Michael Braun, “Love Me Do: The Beatles’ Progress (2)” (1964)
Paul Theroux, “Why We Loved the Beatles” (1984)
Gloria Steinem, “Beatle with a Future” (1964)
Andrew Yule, “The Man Who Framed the Beatles,” excerpt (1994)
5. Tuesday, January 22
With the Beatles and “I Want to Hold Your Hand”
(November 1963); First US visit, February 1964
6. Thursday, January 24
The Beatles’ American records (Capitol Records);
A Hard Day’s Night (film, July 1964)
January 23/ 25
Discussion Section
WEEK 4: NEW INFLUENCES (1964-1965)
READ: Jean Shepherd, “Playboy Interview with the Beatles” (1965)
7. Tuesday, January 29
A Hard Day’s Night (album, July 1964)
Bob Dylan and the Folk Music Revival
8. Thursday, January 31
Beatles for Sale (December 1964);
Help! (film: July1965; album: August 1965)
January 30/ February 1
Discussion Section
READ: Week 5 Readings: Maureen Cleave, “How Does a Beatle Live?” (1966)
Jon Wiener, “First Steps Toward Radical Politics: The 1966 Tour” (1984)
9. Tuesday, February 5
The Beatles at Shea Stadium (August, 1965);
“We Can Work It Out”/ “Day Tripper” (December, 1965)
10. Thursday, February 7
Rubber Soul (December 1965)
February 6/ 8
Discussion Section
WEEK 6: INTO THE STUDIO (1966-1967)
READ: Week 6 Readings: Leonard Gross, “Interview with John Lennon” (1966)
Barry Miles, “Going Underground” (2002)
Geoff Emerick, “Innovation and Invention: the making of Revolver,”
Ch. 7 of Here, There, and Everywhere (2006)
Ben Cardew, “In Defense of Ringo Starr” (online link: The Guardian, 2017)
11. Tuesday, February 12
“Paperback Writer”/ “Rain” (June 1966);
Revolver (June 1966)
12. Tuesday, February 14
Musique Concrète, Surrealism, Psychedelia
February 13/ 15
Discussion Section
READ: Week 7 Readings: George Martin, “All You Need Is Ears,” excerpt (1979)
Alan Aldridge, “Beatles Not All That Turned On” (1969)
Nik Cohn, “Awopbopaloobop Alopbamboom” (1970)
Jon Wiener, “Sgt. Pepper and Flower Power” (1984)
13. Tuesday, February 19
“Strawberry Fields Forever”/“Penny Lane” (Feb. 1967);
Music in San Francisco
14. Thursday, February 21
Sergeant Pepper’s Lonely Hearts Club Band (June 1967)
February 20/ 22
Discussion Section
WEEK 8: TO INDIA AND BACK (1967-1968)
READ: Week 8 Readings: Jann S. Wenner, “Lennon Remembers,” excerpt (1970, published 2000)
Charles Marowitz, “The Beatles’ Home Movie” (1968)
15. Tuesday, February 26
“All you need is Love” (June 1967);
Magical Mystery Tour (Nov/Dec 1967)
16. Thursday, February 28
The Beatles (“The White Album,” November 1968)
February 27/ March 1
Discussion Section
WEEK 9: “AND IN THE END…” (1969-1970)
READ: Week 9 Readings: Pauline Kael, “Metamorphosis of the Beatles” (1968)
Hunter Davies, “The Beatles,” excerpt (1968)
Cynthia Lennon, “A Twist of Lennon,” excerpt (1978)
Jonathan Cott, “Interview with John Lennon” (1968)
17. Tuesday, March 5
Yellow Submarine (Film: July 1968; Album: Jan.1969)
Yoko Ono
18. Thursday, March 7
Abbey Road (September 1969)
Let It Be (rec. Jan.’69, released May 1970)
March 6/ 8
Discussion Section
READ: Week 10 Readings: Richard Meryman, “Interview with Paul McCartney” (1971)
Mitchell Glazer, “Interview with George Harrison” (1977)
Jann S. Wenner, “Lennon Remembers,” excerpt (1970, published 2000)
David Sheff, “Playboy Interview with Lennon and Yoko” (1981)
19. Tuesday, March 12
The Breakup (1970) and Afterwards
20. Thursday, March 14
The Beatles today
March 13 / 15
Discussion Section: Review.
AT 11:59 PM
Musicology 68: The Beatles
Winter, 2019
Professor Upton
 REMEMBER: you are bound by the UCLA Student Conduct Code in taking this exam.
Specifically, you must not discuss your exam with another student or any other person, and
you may not work collaboratively on outlines or essays.
PART I (50%): Listening Guide
Prepare a listening guide to one of the six following Beatles albums (UK versions):
• Rubber Soul (December 1965)
• Revolver (August 1966)
• Sgt. Pepper’s Lonely Hearts Club Band (May 1967)
• Magical Mystery Tour (November 1967)
• Abbey Road (September 1969)
• Let It Be (May 1970)
Your listening guide will provide an overview of the album as a whole, and discussions of at
least three songs from the album. Two of the songs must be songs NOT played or discussed in
lecture or in section, while at least one song can be a song played/discussed in lecture and/or
section (you may discuss additional songs so long as you meet the requirement of discussing two
songs not discussed in lecture and/or section). Use course material – historical, musicological,
etc. – to create a narrative for understanding the album.
Your overview of the album can include information on the composition and recording of the
songs, but the larger focus should be your overall impressions of the album. You may also
compare any of the songs to other music, from the past or the present. Remember, this is an
exam, not a term paper: in preparing and writing it, you should draw on materials from the
second five weeks of class, including readings, lecture notes, listening, videos, discussion
sections, and the weekly online writing questions. You do not have to do any additional research
for this exam, but if you want to include additional information, make sure to footnote your
Some questions to ask yourself when choosing a focus for your exam include: What do you
think is interesting about this album, what stands out to you? How are the Beatles addressing
their audience? How are the Beatles responding to other music they know? What emotions or
ideas do you hear the songs conveying? What (if anything) do you think the Beatles are saying
about themselves with this album? How does this album relate (or not) to the Beatles’ earlier
work? How does the album cover relate to the listening experience? What do you think a
listener in the 1960s would have thought about this album? What do you think about the album
as a listener in 2019, and how does that compare with what you think listeners in the 1960s
would have heard?
The songs you choose will give you the opportunity to provide evidence for your overview of the
album. Your discussion of each song must include specific musical details, as we have been
discussing them in class. You do not have to account for every element for each song! Instead,
think about what particular musical element(s) contribute to your impression and understanding
of the song.
Musical elements include:
Things composers play with: Meter & Rhythm; Melody; Harmony; Instrumentation (including
voices); Texture; Form; Lyrics/language (see slides, Week 1 Class 1)
Things performers play with: Composer instructions; Training and skill; Timbre (sound
characteristics); Expression (tempo, dynamics, phrasing); Re-arrangement (for covers,
especially forces); Recording techniques (see slides Week 1 Class 1)
And things Listeners play with: Paratexts; existing knowledge (about musicians, other music, etc);
Listening contexts (see slides Week 2 Class 1)
You may of course discuss the lyrics of songs, but make sure to consider purely musical
elements as well. Additionally, your framework for interpreting/understanding the album and its
songs can be based on concepts you know from outside this class, from other classes or fields of
study that seem appropriate, including (but not limited to) gender, sexuality, masculinity/
femininity, race, class, …
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