Tag: John Covach
As people around the world begin to mourn the legendary musician and performer, rock historian John Covach remembers him as one of the “most important artists in American popular music during the last two decades of the twentieth century.”
“It used to be in the U.S. and the U.K. that a producer was basically a salaried employee whose job it was to make sure the company’s studio time was being used wisely,” said John Covach, director of the Institute for Popular Music at the University of Rochester in New York, who teaches an online course about the Beatles.
The 2015-2016 “In Performance” concert series continues on Saturday, Feb. 6, with a concert celebrating a genre that Institute for Popular Music director John Covach describes as “often overlooked by rock ‘n’ roll establishments like the Hall of Fame.”
David Bowie, who died Sunday at the age of 69, wasn’t the first performer to create an alter ego. But as music professor and director of the Institute for Popular Music John Covach explains, the difference with Bowie was how his personas would change over the years, sometimes shifting drastically.
John Covach, a prominent rock historian, founding director of the University’s Institute for Popular Music, professor and former chair of the Department of Music, and professor of music theory at the Eastman School of Music, has been named the inaugural director of the newly created Institute for Performing Arts.
After having taken several free rock ‘n’ roll music courses online, I’m here to testify that the best of the lot – and they’ve all been a blast – is “The Music of the Rolling Stones. The class, engagingly taught by University of Rochester professor John Covach, focuses on the music – as opposed to celebrity worship.
Fifty years ago, the Rolling Stones released their breakthrough single (I Can’t Get No) Satisfaction, which debuted in the US during the first week of June 1965. The band’s previous singles had done well enough stateside: the country-influenced Heart of Stone had risen to 19 on the charts in late 1964, and the gospel-tinged The Last Time had reached 9.
If pop songs can so easily be written and then distributed into an unbreakable cycle of hits, can’t they also be reverse engineered and reproduced? Not if you want the song to find an audience, says John Covach, the director of the Institute for Popular Music at the University of Rochester.