Teaching Associates and Discussion Sections

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1
MUSIC HISTORY 68: THE BEATLES
Professor ElizabOffice: 2424 Schoenberg Music Buildingeth Upton eupton@humnet.ucla.edu

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:
1A Ciera Ott Friday 9:00 -9:50 AM 1440 SMB
1B cieraott@ucla.edu Friday 10:00 -10:50 AM 1440 SMB
1C Racquel Bernard Friday 11:00 -11:50 AM 1440 SMB
1D rbernard3@ucla.edu Friday 12:00 -12:50 PM 1440 SMB
1E Pheaross Graham Friday 1:00 -1:50 PM 1440 SMB
1F pheaross@ucla.edu Friday 2:00 -2:50 PM 1440 SMB
1G Breena Loraine Friday 8:00 -8:50 AM 1420 SMB
1H bloraine@ucla.edu Friday 9:00 -9:50 AM 1420 SMB
1I Helen Rowe Friday 5:00 -5:50 PM 1440 SMB
1J hrowe@ucla.edu Friday 6:00 -6:50 PM 1440 SMB
1K Wade Fulton Dean Friday 1:00 -1:50 PM 1420 SMB
1L wadefultondean@gmail.com Friday 2:00 -2:50 PM 1420 SMB
1M Patrick Gutman Friday 3:00 -3:50 PM 1420 SMB
1N patrickgutman@gmail.com Friday 4:00 -4:50 PM 1420 SMB
1O Marissa Ochsner Wednesday 3:00-3:50 PM 1344 SMB
1P mochsner@ucla.edu Wednesday 4:00-4:50 PM 1344 SMB
COURSE DESCRIPTION
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.
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REQUIRED READINGS:
Required readings will be posted in .pdf form on the course website, by week.
Recommended Reading:
Jonathan Gould, Cant Buy Me Love: The Beatles, Britain, and America (2007).
REQUIRED LISTENING:
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.
REQUIRED VIEWING:
YouTube videos as well as streaming video will be made available online.
ASSIGNMENTS AND GRADING:
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 dont 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 websites 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 groups
discussion.
Your first post each week (2 points) will discuss your response to the weeks 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 students 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 weeks post will go live on Fridays.
The professor and TAs have access to all discussion groups, and will monitor all the
posts for appropriateness.
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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 quarters course lectures and
readings.
MIDTERM EXAM: DUE THURSDAY, FEBRUARY 7th (WEEK 5) AT 11:59 PM
FINAL EXAM: DUE WEDNESDAY, MARCH 20TH (FINALS WEEK) AT 11:59 PM
CLASS POLICIES AND PROCEDURES:
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 elses words or ideas and passing them off as your own). If you
use someone elses 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 members)
may require a doctors verification. If you will miss a lecture due to illness, you dont have to
email anyone! DO get notes for the lecture you missed from a classmate. If, after having read
your classmates notes, you have questions about the material you missed, please come to my
office hours, and/or your TAs office hours and well 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
4
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, dont cheat yourself: when youre in
class, BE in class! Dont 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 93-96
A- 90-92
B+ 87-89
B 83-86
B- 80-82
C+ 77-79
C 73-76
C- 70-72
D+ 67-69
D 63-66
D- 60-62
F 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
action.
Accessibility:
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.
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CLASS SCHEDULE
WEEK 1: COURSE CONCEPTS; BEATLES BACKGROUND
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
WEEK 2: BEATLEMANIA IN THE UK (1963-1964)
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
WEEK 3: THE BEATLES CONQUER AMERICA (1964)
READ: Ehrenreich et al., Beatlemania: Girls Just Want to Have Fun
Greil Marcus, The Beatles (1979), especially Another View of the Chair
Richard Brody, When the Maysles Brothers Filmed The Beatles. The New Yorker,
April 15, 2016.
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 Days Night (film, July 1964)
January 23/ 25 Discussion Section
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WEEK 4: NEW INFLUENCES (1964-1965)
READ: Jean Shepherd, Playboy Interview with the Beatles (1965)
7. Tuesday, January 29 A Hard Days 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
WEEK 5: THE END OF TOURING (1965)
READ: Week 5 Readings: Maureen Cleave, How Does a Beatle Live? (1966)
Jon Wiener, First Steps Toward Radical Politics: The 1966 Tour (1984)
McDonald and Kaufman, Tomorrow Never Knows: The Contribution
of George Martin, from Every Sound There Is: The Beatles Revolver
and the Transformation of Rock and Roll, ed. Russell Reising (Ashgate,
2002), 139-157.
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)
MIDTERM EXAM DUE (SUBMITTED ONLINE), 11:59 PM
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 Concrte, Surrealism, Psychedelia
February 13/ 15 Discussion Section
WEEK 7: THE SUMMER OF LOVE (1967)
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 Peppers Lonely Hearts Club Band (June 1967)
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February
2
0/ 22 Discussion Section
8
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
WEEK 10: AFTER THE BREAKUP (1970 THE PRESENT)
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.
FINAL EXAM: DUE WEDNESDAY, MARCH 20TH (FINALS WEEK)
AT 11:59 PM

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