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Annotated Bibliography

Overy, Katie. Making music in a group: synchronization and shared experience". Vol. 1252. N.p.: nals of the New York Academy of Sciences, 2012.

The main idea of this article is to explain how forms of music making tend to include social interaction, synchronization, body movements, and positive shared experiences (65). In other words, working on music in a group helps great better music. Overy starts off the article by explaining how musical behavior, especially in childhood, is an important fundament part of human experience and learning.Musical learning during childhood, can have a positive impact in other learning domains, from high academic performance (65), the previous quote is one of her explanations for why music is important in childhood. Music also plays an important role in the lives of those who do not consider themselves to be musical and adolescents. Music can help adolescents strengthen their identity formation and social independence. Cases such as working in a group on music or even football fans at a game involve exuberant, whole-body, synchronized movement with opportunities for variation, creativity, leadership, limitation, error, and humor (and little fear of individual performance exposure) (66). She finishes the article by stating We should not ask the question, does music have an impact, but rather can specific kinds of musical experience have an impact, and how and when. (67).

Ballantine, Christopher. Music in Society: A Guide to the Sociology of Music. Vol. 48. N.p.: Music Library Association, 1991.

This article is a book review for Music in Society: A Guide to the Sociology of Music. Ballantine starts of by stating, the original author Ivo Supicic is mainly know for article International Review of the Aesthetics and Sociology of Music. Supicic has for some time been concerned with attempting to conceive of the sociology of music as unified field of endeavor. On page 134 he explains how one of the sections reviews the relationship between sociology of music and various related disciplines (such as social history of music, musicology, ethnomusicology, aesthetics, philosophy); introduces the idea of social conditioning; and gives examples of the kinds of questions the sociology f music might ask and the kinds pf methods it might use. According to Supicic the sociology of music should examine the aesthetic, artistic, and human values of music only as sociological or historical facts, not as aesthetic, artistic and human values (134)

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Coupland, Nikolas. Voice, place and genre in popular song performance. 5th ed. Vol. 15. N.p.: Journal of Sociolinguistics, 2011.

The paper explores a wider agenda for the sociolinguistics of popular song, theorized as a diverse field of performance organized according to genre. (573). throughout the paper the following genres were closely reviewed: classic rock and roll, folk/country, and punk rock. The paper begins to compare American vs. British voice placement. Unlike the British, Americans regularly think about how voice and place my shape the meaning of the song. On page 575 and 576, Coupland discusses certain general limitations. These limitations are directed toward Americans and include: equating the voice with speech and distinctive perspectives of variationist and performance-oriented sociolinguistics. In the following section he discusses the term popular music. Ballantine explains how the shift in who is associated by popular song changed over the last 60 years. From the 1950s for many decades popular song tended to be associated with youth, and not simply because its performed and consumers were young- in many cases they were not. (576). On page 579 he begins to discuss, in more detail, genre and performance. Later on in the paper, Coupland argues that we consume and find value in popular song against different ideological templates according to genre. (576). He then discusses songs by performers such as Chuck Berry, James Taylor, and the Sex Pistols. With these songs he discusses each one in relation to the following genres: rock and roll, folk/country, and punk rock. In his conclusion he discusses how these genres are associated with a different sense of vernacular experience.

Luvas, Brent. Re-Producing Pop: The aesthetics of ambivalence in a contemporary dance music. Vol. 9. N.p.: International Journal of Cultural Studies, 2006.

Throughout this article the keywords used are consumption, dance music, mass media, performance, popular culture, style and youth. In this article, I analyze the ephemeral, pop c culture trend of electroclash as a set of aesthetic tactics for living through the confusion and contradictions of life in media-saturated late capitalist world economy. (168). Electroclash is defined as a style of electronic dance labeled by the press of popular music. On page 173 Luvas begins to discuss how electroclash, like many others, developed through the years and how it became to be the way it is now. In this page she also tells the audience that electroclash still stays true to the way it was many years ago, in certain aspects. The very same trend-prone urbanites that constituted the electroclash scene moved on to new things, or perhaps more accurately, new versions of other old things. (183). Not only is pop culture reproduced but is being remixed, reworked and reinvested.

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Leeds, Jeff. Second CD by Maroon 5 Faces Great Expectations. N.p.: New York Times, 2007. Maroon 5s first album released in 2002, Songs About Jane was a bigger success than the band had ever expected. Now there is great anticipation for their second album It Wont Be Soon Before Long (released in 2007), fans are expecting this album to be better than their first album, considering how successful it was. The band realized, while working on the album, how much of a burden their creativity has to carry. They were starting to feel the pressure, but believe the album will be more than the fans expected. With this album the band decided to draw from more classic pop artist, such as Michael Jackson, specifically from his album Off the Wall (album released in 1979). 10 million copies were sold worldwide for their first album, the bands plan is to sell at least double that about, hopefully more. The article ends with a quote from Adam Levine is a very successful second record.

Markovitz, Adam. Maroon 5. N.p.: Entertainment Weekly, 2012.

The author of this article Adam Markovitz is criticizing not only the album Overexposed (Maroon 5s fourth album released in 2012) but also Maroon 5 as a whole and Adam Levine. He starts off the article talking about Adam Levine and his fame. He describes Levine as a stand-alone star one due to his role as a throne swiveling talent scout. (paragraph 1). What if we could listen to a new Maroon 5 album with our backs turned to the band...Would we still hear a potential star in these boys from Brentwood? (paragraph 2). He answers this question with a solid no. The crossovers between rock and pop do not fit them, according to Markovitz. The Overexposed album did not balance well between rock-grit and dance-pop glitz, which barely makes Maroon 5 sound like a band. (paragraph 3). Markovitz finishes his article by grading Maroon 5 with a C+ band.

Scaggs, Austin. QA - Ada Levine's Hit Machine - The maroon 5 singer on his secret to writing a Top Forty smash: Listen to the kids. San Francisco: Rolling Stone, 2007. This article is based on an interview Rolling Stone did on Adam Levine. The intro a short description of facts about Levin and what he is known for. For the remaining of the article Levine is answering the questions asked by Scaggs. Levine explains how both Billy Joel and JayZ were his inspiration. He shares how he knows a song is going to be big. According to the

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article he asks his brother and sister, who are both very young kids, to criticize the song. If they, really enjoy the song, it will be a big hit because kids have no censor. (second question). One of their songs Makes Me Wonder on the album Wont Be Soon Before Long (2007), features a heavy conga groove. (fourth question). Levine explains he decided to add that because during that time he admired Quincy Jones and his sophisticated music. When you add accents like that, it gives the music a lift. (second question). That is why he decided to add that certain groove to the song.

Austin, Scaggs. Adam Levine found solace in Pearl Jam, but Stevie Wonder taught him to sing. N.p.: Rolling Stone, 2004. This article is also based on a question and answer session with Adam Levin for Rolling Stone. This interview took place a couple of years after Maroon 5 released their first album Songs About Jane in 2004. Levine commented on how his mother was the main person to turn him on to music. Wed sit in her car-it was a little BMW 320i- and wed listen to Abbey Road, a song by The Beatles, which was his mothers favorite band (first question). He shares his love for Stevie Wonder and his feel good music. I wish I'd written "I Wish." Or "Boogie On Reggae Woman," "Sir Duke" or "I Believe" (third question). Singing in front of the mirror is one, embarrassing, way he practices his singing. Levine then begins to talk about some of his lyrics from the album. He admits a couple of phrases are sexual, but he was tired of songs not being explicit. I thought the more explicit I got without being totally explicit was a nice approach. (ninth question).

Greene, Andy. Adam Levine on going Number One, testing new tunes on a club tour and the future of the band. N.p.: Rolling Stone, 2007. This article from Rolling Stone describes how Maroon 5 has progressed over the years and how successful they have become. Selling out the Troubadour (legendary club in West Hollywood) the first time, was one of their first most thrilling experiences. After hitting Number One for the first time, Maroon 5 kicked off a club tour. Their first appearances were on The Ellen DeGeneres Show and Saturday Night Live (both famous talk shows). They broke the record for the biggest leap in charts history with their song Makes Me Wonder. The song went from number sixty-four to number one on the Billboard Hotzoo (third paragraph). They were able to test out new songs in clubs all over, some places they went include: New York, Montral, and Miami. "A lot of these songs were specifically written for our live set. We needed more energy, so we wrote a lot more upbeat tunes on this record." (fourth paragraph). On July 10th they had the

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opportunity to open for The Police (famous rock band), this was one of their most exciting shows ever.

Graff, Gary. Billboard , "Maroon 5 in 'Early Stages' of New Album." Last modified July 29, 2013 http://www.billboard.com/articles/news/5079780/maroon-5-in-early-stages-of-new-album. Now that the band is finishing up their tour for their most recent album Overexposed, they are already starting to work on it follow up album. They have yet to define a direction for the new album, but according to James Valentine (guitarist) they are working on a couple of amazing songs even though they are still in the early stages. Even though Jesse Carmichael (keyboardist) did not tour with the band for Overexposed he will be back touring with them once the new album is released. Once they are done with the Overexposed tour, they will kick off their Honda Civic Tour with Kelly Clarkson (sing and song writer, genres include rock, pop, and country). The tour starts on August 1st. Tony Lucca (contestant on The Voice, mentored by Levine) and PJ Morton (keyboardist filling in for Carmichael). Valentine explains how excited the band is to perform right after Clarkson, because hat's gonna really force them to bring it. (eighth paragraph).