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Pop music

Pop music is a genre of popular music that originated in its modern form during the mid-1950s in the United States and the United Kingdom.[4] The terms popular music and pop music are often used interchangeably, although the former describes all music that is popular and includes many disparate styles. During the 1950s and 1960s, pop music encompassed rock and roll and the youth-oriented styles it influenced. Rock and pop music remained roughly synonymous until the late 1960s, after which pop became associated with music that was more commercial, ephemeral, and accessible.

Pop music
Stylistic origins
Cultural originsMid-1950s,[4] United States and United Kingdom
Derivative forms
Subgenres
Fusion genres
Regional scenes
Other topics

Although much of the music that appears on record charts is considered to be pop music, the genre is distinguished from chart music. Identifying factors usually include repeated choruses and hooks, short to medium-length songs written in a basic format (often the verse-chorus structure), and rhythms or tempos that can be easily danced to. Much pop music also borrows elements from other styles such as rock, urban, dance, Latin, and country.

Definitions and etymology

David Hatch and Stephen Millward describe pop music as "a body of music which is distinguishable from popular, jazz, and folk music".[8] According to Pete Seeger, pop music is "professional music which draws upon both folk music and fine arts music".[3] David Boyle, a music researcher, states pop music as any type of music that a person has been exposed to by the mass media.[9] Most individuals think that pop music is just the singles charts and not the sum of all chart music. The music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. As a genre, pop music is seen to exist and develop separately.[10] Therefore, the term "pop music" may be used to describe a distinct genre, designed to appeal to all, often characterized as "instant singles-based music aimed at teenagers" in contrast to rock music as "album-based music for adults".[4][12]

Pop music continuously evolves along with the term's definition. According to music writer Bill Lamb, popular music is defined as "the music since industrialization in the 1800s that is most in line with the tastes and interests of the urban middle class."[13] The term "pop song" was first used in 1926, in the sense of a piece of music "having popular appeal".[14] Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues, and hillbilly music.[15]

 
The Oxford Dictionary of Music states that the term "pop" refers to music performed by such artists as the Rolling Stones (pictured here in a 2006 performance).

According to the website of The New Grove Dictionary of Music and Musicians, the term "pop music" "originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced", this is however unsubstantiated.[2] The Oxford Dictionary of Music states that while pop's "earlier meaning meant concerts appealing to a wide audience [...] since the late 1950s, however, pop has had the special meaning of non-classical mus[ic], usually in the form of songs, performed by such artists as The Beatles, The Rolling Stones, ABBA, etc."[16] Grove Music Online also states that "[...] in the early 1960s, [the term] 'pop music' competed terminologically with beat music [in England], while in the US its coverage overlapped (as it still does) with that of 'rock and roll'".[2]

From about 1967, the term "pop music" was increasingly used in opposition to the term rock music, a division that gave generic significance to both terms.[17] While rock aspired to authenticity and an expansion of the possibilities of popular music,[17] pop was more commercial, ephemeral, and accessible.[18] According to British musicologist Simon Frith, pop music is produced "as a matter of enterprise not art", and is "designed to appeal to everyone" but "doesn't come from any particular place or mark off any particular taste". Frith adds that it is "not driven by any significant ambition except profit and commercial reward [...] and, in musical terms, it is essentially conservative". It is, "provided from on high (by record companies, radio programmers, and concert promoters) rather than being made from below ... Pop is not a do-it-yourself music but is professionally produced and packaged".[4]

Characteristics

According to Frith, characteristics of pop music include an aim of appealing to a general audience, rather than to a particular sub-culture or ideology, and an emphasis on craftsmanship rather than formal "artistic" qualities.[4] Besides, Frith also offers three identifying characteristics of pop music: light entertainment, commercial imperatives, and personal identification. Pop music grew out of a light entertainment/ easy listening tradition.[21] Pop music is more conservative than other music genres such as folk, blues, country, and tradition. Many pop songs do not contain themes of resistance, opposition, or political themes, rather focusing more on love and relationships. Therefore, pop music does not challenge its audiences socially, and does not cause political activism. Frith also said the main purpose of pop music is to create revenue. It is not a medium of free articulation of the people. Instead, pop music seeks to supply the nature of personal desire and achieve the instant empathy with cliche personalities, stereotypes, and melodrama that appeals to listeners. It is mostly about how much revenue pop music makes for record companies.[22] Music scholar Timothy Warner said pop music typically has an emphasis on recording, production, and technology, rather than live performance; a tendency to reflect existing trends rather than progressive developments; and seeks to encourage dancing or uses dance-oriented rhythms.[18]

The main medium of pop music is the song, often between two and a half and three and a half minutes in length, generally marked by a consistent and noticeable rhythmic element, a mainstream style and a simple traditional structure.[23] The structure of many popular songs is that of a verse and a chorus, the chorus serving as the portion of the track that is designed to stick in the ear through simple repetition both musically and lyrically. The chorus is often where the music builds towards and is often preceded by "the drop" where the bass and drum parts "drop out".[24] Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, and a chorus that contrasts melodically, rhythmically and harmonically with the verse.[25] The beat and the melodies tend to be simple, with limited harmonic accompaniment.[26] The lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions.[4]

Harmony and chord progressions in pop music are often "that of classical European tonality, only more simple-minded."[27] Clichés include the barbershop quartet-style harmony (i.e. ii – V – I) and blues scale-influenced harmony.[28] There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominant function.[29]

Development and influence

Technology and media

 
Bing Crosby was one of the first artists to be nicknamed "King of Pop" or "King of Popular Music".[30][verification needed]

In the 1940s, improved microphone design allowed a more intimate singing style and, ten or twenty years later, inexpensive and more durable 45 rpm records for singles "revolutionized the manner in which pop has been disseminated", which helped to move pop music to "a record/radio/film star system".[31] Another technological change was the widespread availability of television in the 1950s with televised performances, forcing "pop stars had to have a visual presence".[31] In the 1960s, the introduction of inexpensive, portable transistor radios meant that teenagers in the developed world could listen to music outside of the home.[31] By the early 1980s, the promotion of pop music had been greatly affected by the rise of music television channels like MTV, which "favoured those artists such as Michael Jackson and Madonna who had a strong visual appeal".[31]

Multi-track recording (from the 1960s) and digital sampling (from the 1980s) have also been used as methods for the creation and elaboration of pop music.[4] During the mid-1960s, pop music made repeated forays into new sounds, styles, and techniques that inspired public discourse among its listeners. The word "progressive" was frequently used, and it was thought that every song and single was to be a "progression" from the last.[32] Music critic Simon Reynolds writes that beginning with 1967, a divide would exist between "progressive" pop and "mass/chart" pop, a separation which was "also, broadly, one between boys and girls, middle-class and working-class."[33]

The latter half of the 20th-century included a large-scale trend in American culture in which the boundaries between art and pop music were increasingly blurred.[34] Between 1950 and 1970, there was a debate of pop versus art.[35] Since then, certain music publications have embraced the music's legitimacy, a trend referred to as "poptimism".[35]

Stylistic evolution

 
The 1960s British Invasion marked a period when the US charts were inundated with British acts such as the Beatles (pictured 1964).

Throughout its development, pop music has absorbed influences from other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, and spoken passages from rap.[4][verification needed] In 2016, a Scientific Reports study that examined over 464,000 recordings of popular music recorded between 1955 and 2010 found that, compared to 1960s pop music, contemporary pop music uses a smaller variety of pitch progressions, greater average volume,[36] less diverse instrumentation and recording techniques, and less timbral variety.[37] Scientific American's John Matson reported that this "seems to support the popular anecdotal observation that pop music of yore was "better", or at least more varied, than today's top-40 stuff". However, he also noted that the study may not have been entirely representative of pop in each generation.[37]

In the 1960s, the majority of mainstream pop music fell in two categories: guitar, drum and bass groups or singers backed by a traditional orchestra.[38] Since early in the decade, it was common for pop producers, songwriters, and engineers to freely experiment with musical form, orchestration, unnatural reverb, and other sound effects. Some of the best known examples are Phil Spector's Wall of Sound and Joe Meek's use of homemade electronic sound effects for acts like the Tornados.[39] At the same time, pop music on radio and in both American and British film moved away from refined Tin Pan Alley to more eccentric songwriting and incorporated reverb-drenched rock guitar, symphonic strings, and horns played by groups of properly arranged and rehearsed studio musicians.[40] A 2019 study held by New York University in which 643 participants had to rank how familiar a pop song is to them, songs from the 1960s turned out to be the most memorable, significantly more than songs from recent years 2000 to 2015.[41]

Before the progressive pop of the late 1960s, performers were typically unable to decide on the artistic content of their music.[42] Assisted by the mid-1960s economic boom, record labels began investing in artists, giving them the freedom to experiment, and offering them limited control over their content and marketing.[43] This situation declined after the late 1970s and would not reemerge until the rise of Internet stars.[43] Indie pop, which developed in the late 1970s, marked another departure from the glamour of contemporary pop music, with guitar bands formed on the then-novel premise that one could record and release their own music without having to procure a record contract from a major label.[44]

The 1980s are commonly remembered for an increase in the use of digital recording, associated with the usage of synthesizers, with synth-pop music and other electronic genres featuring non-traditional instruments increasing in popularity.[45] By 2014, pop music worldwide had been permeated by electronic dance music.[46] In 2018, researchers at the University of California, Irvine, concluded that pop music has become 'sadder' since the 1980s. The elements of happiness and brightness have eventually been replaced with electronic beats making pop music more 'sad yet danceable'.[47]

International spread and crosspollination

 
 
Michael Jackson (left) and Madonna (right), known respectively as the "King and Queen of Pop" since the 1980s.[48]

Pop music has been dominated by the American and (from the mid-1960s) British music industries, whose influence has made pop music something of an international monoculture, but most regions and countries have their own form of pop music, sometimes producing local versions of wider trends, and lending them local characteristics.[49] Some of these trends (for example Europop) have had a significant impact on the development of the genre.[50]

The story of pop music is largely the story of the intertwining pop culture of the United States and the United Kingdom in the postwar era.

 — Bob Stanley[46]

According to Grove Music Online, "Western-derived pop styles, whether coexisting with or marginalizing distinctively local genres, have spread throughout the world and have come to constitute stylistic common denominators in global commercial music cultures".[51] Some non-Western countries, such as Japan, have developed a thriving pop music industry, most of which is devoted to Western-style pop. Japan has for several years produced a greater quantity of music than everywhere except the US.[clarification needed][51] The spread of Western-style pop music has been interpreted variously as representing processes of Americanization, homogenization, modernization, creative appropriation, cultural imperialism, or a more general process of globalization.[51]

One of the pop music styles that developed alongside other music styles is Latin pop, which rose in popularity in the US during the 1950s with early rock and roll success Ritchie Valens.[52] Later, as Los Lobos garnered major Chicano rock popularity during the 1970s and 1980s, musician Selena saw large-scale pop music presence as the 1980s and 1990s progressed, along with crossover appeal with fans of Tejano music pioneers Lydia Mendoza and Little Joe.[53] With later Hispanic and Latino Americans seeing success within pop music charts, 1990s pop successes stayed popular in both their original genres and in broader pop music.[54] Latin pop hit singles, such as "Macarena" by Los del Río and "Despacito" by Luis Fonsi, have seen record-breaking success on worldwide pop music charts.[55]

21st century

 
Crediting for revitalizing the genre by the turn of the millennium, Britney Spears is cited as the Princess of Pop and one of the most significant and influential artists in the history of pop music.

At the beginning of the 2000s, the trends that dominated during the late 1990s still continued, but the music industry started to change as people began to download music from the internet. People were able to discover genres and artists that were outside of the mainstream and propel them to fame, but at the same time smaller artists had a harder time making a living because their music was being pirated.[56] Popular artists were Avril Lavigne, NSYNC, Christina Aguilera, Destiny's Child, and Britney Spears. Pop music often came from many different genres, with each genre in turn influencing the next one, blurring the lines between them and making them less distinct. This change was epitomized in Spears' highly influential 2007 album Blackout, which under the influence of producer Danja, mixed the sounds of EDM, avant-funk, R&B, dance music, and hip hop.[57]

By the year 2010, pop music impacted by dance music came to be dominant on the charts. Instead of the radio setting the trends, it was now the club. "The new bubble is all the collective clubs around the world. Radio is just doing its best to keep up," said Will.i.am. at the beginning of the decade.[58] Songs that talked of escapism through partying became the most popular, influenced by the impulse to forget the economic troubles that had taken over the world after the 2008 crash.[59] The most popular artists of this era were Justin Bieber, Rihanna, Taylor Swift, Lady Gaga, the Black Eyed Peas, Katy Perry and One Direction.

See also

References

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  11. ^ Moore, Allan F. (2016). Song Means: Analysing and Interpreting Recorded Popular Song. Routledge. ISBN 978-1-317-05265-4.
  12. ^ Musicologist Allan Moore surmises that the term "pop music" itself may have been popularized by Pop art.[11]
  13. ^ Lamb, Bill (29 September 2018). "What Is Pop Music?". ThoughtCo.
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  28. ^ Sargeant, p. 198. cited in Winkler (1978), p. 4.
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Further reading

  • Adorno, Theodor W., (1942) "On Popular Music", Institute of Social Research.
  • Bell, John L., (2000) The Singing Thing: A Case for Congregational Song, GIA Publications, ISBN 1-57999-100-9
  • Bindas, Kenneth J., (1992) America's Musical Pulse: Popular Music in Twentieth-Century Society, Praeger.
  • Clarke, Donald, (1995) The Rise and Fall of Popular Music, St Martin's Press.
  • Dolfsma, Wilfred, (1999) Valuing Pop Music: Institutions, Values and Economics, Eburon.
  • Dolfsma, Wilfred, (2004) Institutional Economics and the Formation of Preferences: The Advent of Pop Music, Edward Elgar Publishing.
  • Frith, Simon, Straw, Will, Street, John, eds, (2001), The Cambridge Companion to Pop and Rock, Cambridge University Press,
  • Frith, Simon (2004) Popular Music: Critical Concepts in Media and Cultural Studies, Routledge.
  • Gillett, Charlie, (1970) The Sound of the City. The Rise of Rock and Roll, Outerbridge & Dienstfrey.
  • Hatch, David and Stephen Millward, (1987), From Blues to Rock: an Analytical History of Pop Music, Manchester University Press, ISBN 0-7190-1489-1
  • Johnson, Julian, (2002) Who Needs Classical Music?: Cultural Choice and Musical Value, Oxford University Press, ISBN 0-19-514681-6.
  • Kent, Jeff, (1983) The Rise and Fall of Rock, Witan Books, ISBN 0-9508981-0-4.
  • Lonergan, David F., (2004) Hit Records, 1950–1975, Scarecrow Press, ISBN 0-8108-5129-6.
  • Maultsby, Portia K., (7907) Intra- and International Identities in American Popular Music, Trading Culture.
  • Middleton, Richard, (1990) Studying Popular Music, Open University Press.
  • Negus, Bob, (1999) Music Genres and Corporate Cultures, Routledge, ISBN 0-415-17399-X.
  • Pleasants, Henry (1969) Serious Music and All That Jazz, Simon & Schuster.
  • Roxon, Lillian, (1969) Rock Encyclopedia, Grosset & Dunlap.
  • Shuker, Roy, (2002) Popular Music: The Key Concepts, Routledge, (2nd edn.) ISBN 0-415-28425-2.
  • Starr, Larry & Waterman, Christopher, (2002) American Popular Music: From Minstrelsy to MTV, Oxford University Press.
  • Watkins, S. Craig, (2005) Hip Hop Matters: Politics, Pop Culture, and the Struggle for the Soul of a Movement, Beacon Press, ISBN 0-8070-0982-2.

External links

music, this, article, about, specific, music, genre, popular, music, general, popular, music, other, uses, disambiguation, song, redirects, here, other, uses, song, genre, popular, music, that, originated, modern, form, during, 1950s, united, states, united, k. This article is about a specific music genre For popular music in general see Popular music For other uses see Pop music disambiguation Pop song redirects here For other uses see Pop Song Pop music is a genre of popular music that originated in its modern form during the mid 1950s in the United States and the United Kingdom 4 The terms popular music and pop music are often used interchangeably although the former describes all music that is popular and includes many disparate styles During the 1950s and 1960s pop music encompassed rock and roll and the youth oriented styles it influenced Rock and pop music remained roughly synonymous until the late 1960s after which pop became associated with music that was more commercial ephemeral and accessible Pop musicStylistic originsTraditional pop 1 rock and roll 2 folk 3 Cultural originsMid 1950s 4 United States and United KingdomDerivative formsNew wave 5 6 7 SubgenresArt pop Brill Building bubblegum dance pop operatic pop orchestral pop sad pop schlager sophisti pop sunshine pop synth pop teen pop wonky pop complete list Fusion genresBaroque pop country pop contemporary R amp B cowboy pop dancehall pop electropop emo pop folk pop hypnagogic pop indie pop pop punk pop rap ambient pop pop rock power pop psychedelic pop space age pop worldbeatRegional scenesAustria China Colombia France Hong Kong India Indonesia Iran Italy Japan Kazakhstan Malaysia Mexico Middle East Morocco Netherland Pakistan Philippines Russia Scandinavia South America South Korea Sri Lanka Sweden Taiwan Thailand Turkey United Kingdom United States Vietnam Western EuropeOther topicsAvant pop experimental pop Hyperpop New Pop pop music automation poptimism rock musicAlthough much of the music that appears on record charts is considered to be pop music the genre is distinguished from chart music Identifying factors usually include repeated choruses and hooks short to medium length songs written in a basic format often the verse chorus structure and rhythms or tempos that can be easily danced to Much pop music also borrows elements from other styles such as rock urban dance Latin and country Contents 1 Definitions and etymology 2 Characteristics 3 Development and influence 3 1 Technology and media 3 2 Stylistic evolution 3 3 International spread and crosspollination 3 4 21st century 4 See also 5 References 6 Further reading 7 External linksDefinitions and etymology EditDavid Hatch and Stephen Millward describe pop music as a body of music which is distinguishable from popular jazz and folk music 8 According to Pete Seeger pop music is professional music which draws upon both folk music and fine arts music 3 David Boyle a music researcher states pop music as any type of music that a person has been exposed to by the mass media 9 Most individuals think that pop music is just the singles charts and not the sum of all chart music The music charts contain songs from a variety of sources including classical jazz rock and novelty songs As a genre pop music is seen to exist and develop separately 10 Therefore the term pop music may be used to describe a distinct genre designed to appeal to all often characterized as instant singles based music aimed at teenagers in contrast to rock music as album based music for adults 4 12 Pop music continuously evolves along with the term s definition According to music writer Bill Lamb popular music is defined as the music since industrialization in the 1800s that is most in line with the tastes and interests of the urban middle class 13 The term pop song was first used in 1926 in the sense of a piece of music having popular appeal 14 Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry including in country blues and hillbilly music 15 The Oxford Dictionary of Music states that the term pop refers to music performed by such artists as the Rolling Stones pictured here in a 2006 performance According to the website of The New Grove Dictionary of Music and Musicians the term pop music originated in Britain in the mid 1950s as a description for rock and roll and the new youth music styles that it influenced this is however unsubstantiated 2 The Oxford Dictionary of Music states that while pop s earlier meaning meant concerts appealing to a wide audience since the late 1950s however pop has had the special meaning of non classical mus ic usually in the form of songs performed by such artists as The Beatles The Rolling Stones ABBA etc 16 Grove Music Online also states that in the early 1960s the term pop music competed terminologically with beat music in England while in the US its coverage overlapped as it still does with that of rock and roll 2 From about 1967 the term pop music was increasingly used in opposition to the term rock music a division that gave generic significance to both terms 17 While rock aspired to authenticity and an expansion of the possibilities of popular music 17 pop was more commercial ephemeral and accessible 18 According to British musicologist Simon Frith pop music is produced as a matter of enterprise not art and is designed to appeal to everyone but doesn t come from any particular place or mark off any particular taste Frith adds that it is not driven by any significant ambition except profit and commercial reward and in musical terms it is essentially conservative It is provided from on high by record companies radio programmers and concert promoters rather than being made from below Pop is not a do it yourself music but is professionally produced and packaged 4 Characteristics Edit The Righteous Brothers You ve Lost That Lovin Feelin 1965 source source As of 2011 update You ve Lost That Lovin Feelin ranks as the most frequently played song in US radio history 19 It is described by music writers Nick Logan and Bob Woffinden as the ultimate pop record 20 Problems playing this file See media help According to Frith characteristics of pop music include an aim of appealing to a general audience rather than to a particular sub culture or ideology and an emphasis on craftsmanship rather than formal artistic qualities 4 Besides Frith also offers three identifying characteristics of pop music light entertainment commercial imperatives and personal identification Pop music grew out of a light entertainment easy listening tradition 21 Pop music is more conservative than other music genres such as folk blues country and tradition Many pop songs do not contain themes of resistance opposition or political themes rather focusing more on love and relationships Therefore pop music does not challenge its audiences socially and does not cause political activism Frith also said the main purpose of pop music is to create revenue It is not a medium of free articulation of the people Instead pop music seeks to supply the nature of personal desire and achieve the instant empathy with cliche personalities stereotypes and melodrama that appeals to listeners It is mostly about how much revenue pop music makes for record companies 22 Music scholar Timothy Warner said pop music typically has an emphasis on recording production and technology rather than live performance a tendency to reflect existing trends rather than progressive developments and seeks to encourage dancing or uses dance oriented rhythms 18 The main medium of pop music is the song often between two and a half and three and a half minutes in length generally marked by a consistent and noticeable rhythmic element a mainstream style and a simple traditional structure 23 The structure of many popular songs is that of a verse and a chorus the chorus serving as the portion of the track that is designed to stick in the ear through simple repetition both musically and lyrically The chorus is often where the music builds towards and is often preceded by the drop where the bass and drum parts drop out 24 Common variants include the verse chorus form and the thirty two bar form with a focus on melodies and catchy hooks and a chorus that contrasts melodically rhythmically and harmonically with the verse 25 The beat and the melodies tend to be simple with limited harmonic accompaniment 26 The lyrics of modern pop songs typically focus on simple themes often love and romantic relationships although there are notable exceptions 4 Harmony and chord progressions in pop music are often that of classical European tonality only more simple minded 27 Cliches include the barbershop quartet style harmony i e ii V I and blues scale influenced harmony 28 There was a lessening of the influence of traditional views of the circle of fifths between the mid 1950s and the late 1970s including less predominance for the dominant function 29 Development and influence EditTechnology and media Edit Bing Crosby was one of the first artists to be nicknamed King of Pop or King of Popular Music 30 verification needed In the 1940s improved microphone design allowed a more intimate singing style and ten or twenty years later inexpensive and more durable 45 rpm records for singles revolutionized the manner in which pop has been disseminated which helped to move pop music to a record radio film star system 31 Another technological change was the widespread availability of television in the 1950s with televised performances forcing pop stars had to have a visual presence 31 In the 1960s the introduction of inexpensive portable transistor radios meant that teenagers in the developed world could listen to music outside of the home 31 By the early 1980s the promotion of pop music had been greatly affected by the rise of music television channels like MTV which favoured those artists such as Michael Jackson and Madonna who had a strong visual appeal 31 Multi track recording from the 1960s and digital sampling from the 1980s have also been used as methods for the creation and elaboration of pop music 4 During the mid 1960s pop music made repeated forays into new sounds styles and techniques that inspired public discourse among its listeners The word progressive was frequently used and it was thought that every song and single was to be a progression from the last 32 Music critic Simon Reynolds writes that beginning with 1967 a divide would exist between progressive pop and mass chart pop a separation which was also broadly one between boys and girls middle class and working class 33 The latter half of the 20th century included a large scale trend in American culture in which the boundaries between art and pop music were increasingly blurred 34 Between 1950 and 1970 there was a debate of pop versus art 35 Since then certain music publications have embraced the music s legitimacy a trend referred to as poptimism 35 Stylistic evolution Edit The 1960s British Invasion marked a period when the US charts were inundated with British acts such as the Beatles pictured 1964 Throughout its development pop music has absorbed influences from other genres of popular music Early pop music drew on the sentimental ballad for its form gained its use of vocal harmonies from gospel and soul music instrumentation from jazz and rock music orchestration from classical music tempo from dance music backing from electronic music rhythmic elements from hip hop music and spoken passages from rap 4 verification needed In 2016 a Scientific Reports study that examined over 464 000 recordings of popular music recorded between 1955 and 2010 found that compared to 1960s pop music contemporary pop music uses a smaller variety of pitch progressions greater average volume 36 less diverse instrumentation and recording techniques and less timbral variety 37 Scientific American s John Matson reported that this seems to support the popular anecdotal observation that pop music of yore was better or at least more varied than today s top 40 stuff However he also noted that the study may not have been entirely representative of pop in each generation 37 In the 1960s the majority of mainstream pop music fell in two categories guitar drum and bass groups or singers backed by a traditional orchestra 38 Since early in the decade it was common for pop producers songwriters and engineers to freely experiment with musical form orchestration unnatural reverb and other sound effects Some of the best known examples are Phil Spector s Wall of Sound and Joe Meek s use of homemade electronic sound effects for acts like the Tornados 39 At the same time pop music on radio and in both American and British film moved away from refined Tin Pan Alley to more eccentric songwriting and incorporated reverb drenched rock guitar symphonic strings and horns played by groups of properly arranged and rehearsed studio musicians 40 A 2019 study held by New York University in which 643 participants had to rank how familiar a pop song is to them songs from the 1960s turned out to be the most memorable significantly more than songs from recent years 2000 to 2015 41 Before the progressive pop of the late 1960s performers were typically unable to decide on the artistic content of their music 42 Assisted by the mid 1960s economic boom record labels began investing in artists giving them the freedom to experiment and offering them limited control over their content and marketing 43 This situation declined after the late 1970s and would not reemerge until the rise of Internet stars 43 Indie pop which developed in the late 1970s marked another departure from the glamour of contemporary pop music with guitar bands formed on the then novel premise that one could record and release their own music without having to procure a record contract from a major label 44 The 1980s are commonly remembered for an increase in the use of digital recording associated with the usage of synthesizers with synth pop music and other electronic genres featuring non traditional instruments increasing in popularity 45 By 2014 pop music worldwide had been permeated by electronic dance music 46 In 2018 researchers at the University of California Irvine concluded that pop music has become sadder since the 1980s The elements of happiness and brightness have eventually been replaced with electronic beats making pop music more sad yet danceable 47 International spread and crosspollination Edit Michael Jackson left and Madonna right known respectively as the King and Queen of Pop since the 1980s 48 Pop music has been dominated by the American and from the mid 1960s British music industries whose influence has made pop music something of an international monoculture but most regions and countries have their own form of pop music sometimes producing local versions of wider trends and lending them local characteristics 49 Some of these trends for example Europop have had a significant impact on the development of the genre 50 The story of pop music is largely the story of the intertwining pop culture of the United States and the United Kingdom in the postwar era Bob Stanley 46 According to Grove Music Online Western derived pop styles whether coexisting with or marginalizing distinctively local genres have spread throughout the world and have come to constitute stylistic common denominators in global commercial music cultures 51 Some non Western countries such as Japan have developed a thriving pop music industry most of which is devoted to Western style pop Japan has for several years produced a greater quantity of music than everywhere except the US clarification needed 51 The spread of Western style pop music has been interpreted variously as representing processes of Americanization homogenization modernization creative appropriation cultural imperialism or a more general process of globalization 51 One of the pop music styles that developed alongside other music styles is Latin pop which rose in popularity in the US during the 1950s with early rock and roll success Ritchie Valens 52 Later as Los Lobos garnered major Chicano rock popularity during the 1970s and 1980s musician Selena saw large scale pop music presence as the 1980s and 1990s progressed along with crossover appeal with fans of Tejano music pioneers Lydia Mendoza and Little Joe 53 With later Hispanic and Latino Americans seeing success within pop music charts 1990s pop successes stayed popular in both their original genres and in broader pop music 54 Latin pop hit singles such as Macarena by Los del Rio and Despacito by Luis Fonsi have seen record breaking success on worldwide pop music charts 55 21st century Edit Crediting for revitalizing the genre by the turn of the millennium Britney Spears is cited as the Princess of Pop and one of the most significant and influential artists in the history of pop music At the beginning of the 2000s the trends that dominated during the late 1990s still continued but the music industry started to change as people began to download music from the internet People were able to discover genres and artists that were outside of the mainstream and propel them to fame but at the same time smaller artists had a harder time making a living because their music was being pirated 56 Popular artists were Avril Lavigne NSYNC Christina Aguilera Destiny s Child and Britney Spears Pop music often came from many different genres with each genre in turn influencing the next one blurring the lines between them and making them less distinct This change was epitomized in Spears highly influential 2007 album Blackout which under the influence of producer Danja mixed the sounds of EDM avant funk R amp B dance music and hip hop 57 By the year 2010 pop music impacted by dance music came to be dominant on the charts Instead of the radio setting the trends it was now the club The new bubble is all the collective clubs around the world Radio is just doing its best to keep up said Will i am at the beginning of the decade 58 Songs that talked of escapism through partying became the most popular influenced by the impulse to forget the economic troubles that had taken over the world after the 2008 crash 59 The most popular artists of this era were Justin Bieber Rihanna Taylor Swift Lady Gaga the Black Eyed Peas Katy Perry and One Direction See also Edit Pop music portal Music portalHonorific nicknames in popular music Origins of rock and roll Popular music pedagogy List of music genres and styles History of music Public domain music List of largest recorded music markets Music genreReferences Edit Traditional Pop Allmusic com Archived 2017 10 19 at the Wayback Machine Retrieved 25 August 2016 a b c R Middleton et al Pop Grove music online retrieved 14 March 2010 subscription required Archived 13 January 2011 at the Wayback Machine a b Gilliland John 1969 Show 1 Play A Simple Melody Pete Seeger on the origins of pop music audio Pop Chronicles University of North Texas Libraries a b c d e f g h S Frith W Straw and J Street eds The Cambridge Companion to Pop and Rock Cambridge Cambridge University Press ISBN 0 521 55660 0 pp 95 105 Pop Rock Punk New Wave New Wave allmusic com Retrieved 9 December 2021 The 50 Best New Wave Albums Paste 13 October 2020 Retrieved 9 December 2021 Q amp A with Theo Cateforis author of Are We Not New Wave Modern Pop at the Turn of the 1980s PDF University of Michigan Retrieved 9 December 2021 D Hatch and S Millward From Blues to Rock an Analytical History of Pop Music Manchester Manchester University Press 1987 ISBN 0 7190 1489 1 p 1 Boyle J David Hosterman Glenn L Ramsey Darhyl S 1981 04 01 Factors Influencing Pop Music Preferences of Young People Journal of Research in Music Education 29 1 47 55 doi 10 2307 3344679 ISSN 0022 4294 JSTOR 3344679 S2CID 145122624 R Serge Denisoff and William L Schurk Tarnished Gold the Record Industry Revisited New Brunswick NJ Transaction Publishers 3rd edn 1986 ISBN 0 88738 618 0 pp 2 3 Moore Allan F 2016 Song Means Analysing and Interpreting Recorded Popular Song Routledge ISBN 978 1 317 05265 4 Musicologist Allan Moore surmises that the term pop music itself may have been popularized by Pop art 11 Lamb Bill 29 September 2018 What Is Pop Music ThoughtCo J Simpson and E Weiner Oxford English Dictionary Oxford Oxford University Press 1989 ISBN 0 19 861186 2 cf pop D Hatch and S Millward From Blues to Rock an Analytical History of Pop Music ISBN 0 7190 1489 1 p 49 Pop The Oxford Dictionary of Music retrieved 9 March 2010 subscription required Archived 12 November 2017 at the Wayback Machine a b Kenneth Gloag in The Oxford Companion to Music Oxford Oxford University Press 2001 ISBN 0 19 866212 2 p 983 a b T Warner Pop Music Technology and Creativity Trevor Horn and the Digital Revolution Aldershot Ashgate 2003 ISBN 0 7546 3132 X pp 3 4 Van s Brown Eyed Girl hits the 10 million mark in US BBC 5 October 2011 Steve Sullivan 2013 Encyclopedia of Great Popular Song Recordings Volume 2 Scarecrow Press pp 101 103 ISBN 978 0 8108 8296 6 Rojek Chris 2011 Pop music pop culture Polity 1st edition June 13 2011 pp 2 3 ISBN 978 0745642642 Rojek Chris 2011 Pop music pop culture Polity 1st edition June 13 2011 pp 2 3 W Everett Expression in Pop rock Music A Collection of Critical and Analytical Essays London Taylor amp Francis 2000 p 272 Characteristics of Pop Music An Introduction Cmuse org 9 December 2019 Retrieved 2020 07 07 J Shepherd Continuum Encyclopedia of Popular Music of the World Performance and production Continuum 2003 p 508 V Kramarz The Pop Formulas Harmonic Tools of the Hit Makers Mel Bay Publications 2007 p 61 Winkler Peter 1978 Toward a theory of pop harmony In Theory Only 4 pp 3 26 Sargeant p 198 cited in Winkler 1978 p 4 Winkler 1978 p 22 Gilliland John 1994 Pop Chronicles the 40s The Lively Story of Pop Music in the 40s a b c d D Buckley Pop II Implications of technology Grove Music Online retrieved 15 March 2010 Hewitt Paolo Hellier John 2015 Steve Marriott All Too Beautiful Dean Street Press p 162 ISBN 978 1 910570 69 2 Reynolds Simon 2006 New Pop and its Aftermath On Record Rock Pop and the Written Word Routledge p 398 ISBN 978 1 134 93951 0 Edmondson Jacqueline ed 2013 Music in American Life An Encyclopedia of the Songs Styles Stars and Stories that Shaped our Culture ABC CLIO pp 317 1233 ISBN 978 0 313 39348 8 a b Loss Robert August 10 2015 No Apologies A Critique of the Rockist v Poptimist Paradigm PopMatters Serra Joan Corral Alvaro Boguna Marian Haro Martin Arcos Josep Ll 2012 Measuring the Evolution of Contemporary Western Popular Music Scientific Reports 2 521 arXiv 1205 5651 Bibcode 2012NatSR 2E 521S doi 10 1038 srep00521 PMC 3405292 PMID 22837813 a b John Matson Is Pop Music Evolving or Is It Just Getting Louder Scientific American 26 July 2012 Archived 23 March 2016 at the Wayback Machine Retrieved 30 March 2016 Making Arrangements A Rough Guide To Song Construction amp Arrangement Part 1 Sound on Sound October 1997 Archived from the original on 8 May 2014 Retrieved 8 May 2014 Blake Andrew 2009 Recording practices and the role of the producer In Cook Nicholas Clarke Eric Leech Wilkinson Daniel eds The Cambridge Companion to Recorded Music Cambridge University Press p 45 ISBN 978 1 139 82796 6 Pareles Jon October 31 2008 Orchestral Pop the Way It Was More or Less The New York Times Retrieved July 4 2013 The greatest decade for pop music has been revealed according to science Smooth Retrieved 2019 03 31 Willis Paul E 2014 Profane Culture Princeton University Press p 217 ISBN 978 1 4008 6514 7 a b Moore 2016 p 202 Abebe Nitsuh 24 October 2005 Twee as Fuck The Story of Indie Pop Pitchfork Media archived from the original on 24 February 2011 Collins Glenn 1988 08 29 Rap Music Brash And Swaggering Enters Mainstream The New York Times a b Christgau Robert 2014 Anti Rockism s Hall of Fame The Barnes amp Noble Review Retrieved August 18 2015 New study finds pop music has gotten extremely depressing but also more fun to dance to The FADER Retrieved 2018 05 21 McGee Alan August 20 2008 Madonna Pop Art The Guardian Retrieved April 17 2013 J Kun Audiotopia Music Race and America Berkeley CA University of California Press 2005 ISBN 0 520 24424 9 p 201 Star profiles in S Frith W Stray and J Street The Cambridge Companion to Pop and Rock Cambridge University Press 2001 ISBN 0 521 55660 0 pp 199 200 a b c P Manuel Pop Non Western cultures 1 Global dissemination Grove Music Online retrieved 14 March 2010 Los Lobos Ritchie Valens and the Day the Music Died Strachwitz Frontera Collection February 16 2017 Retrieved November 18 2020 Lucero Mario J 3 January 2020 The problem with how the music streaming industry handles data Quartz Retrieved November 18 2020 Aldama A J Sandoval C Garcia P J 2012 Performing the US Latina and Latino Borderlands Indiana University Press p 224 ISBN 978 0 253 00295 2 Retrieved February 14 2020 Villafane Veronica August 14 2017 Still No 1 Record Breaking Despacito Ties Macarena Streak On Hot 100 But Is Snubbed By MTV Forbes Retrieved February 14 2020 Ghoshal Abhimanyu 2018 12 28 A nostalgic look back at digital music piracy in the 2000s TNW Insights Retrieved 2022 07 27 Hova Tray 2011 02 07 Studio Stories Danja Pg 2 VIBE com Retrieved 2022 07 27 Herrera Monica 2010 12 10 2010 in Music The Year That Went Pop Billboard Retrieved 2022 07 27 Bopping Through the Bailouts Why the Great Recession Led to Great Music afterglow Retrieved 2022 07 27 Further reading EditAdorno Theodor W 1942 On Popular Music Institute of Social Research Bell John L 2000 The Singing Thing A Case for Congregational Song GIA Publications ISBN 1 57999 100 9 Bindas Kenneth J 1992 America s Musical Pulse Popular Music in Twentieth Century Society Praeger Clarke Donald 1995 The Rise and Fall of Popular Music St Martin s Press 1 Dolfsma Wilfred 1999 Valuing Pop Music Institutions Values and Economics Eburon Dolfsma Wilfred 2004 Institutional Economics and the Formation of Preferences The Advent of Pop Music Edward Elgar Publishing Frith Simon Straw Will Street John eds 2001 The Cambridge Companion to Pop and Rock Cambridge University Press Frith Simon 2004 Popular Music Critical Concepts in Media and Cultural Studies Routledge Gillett Charlie 1970 The Sound of the City The Rise of Rock and Roll Outerbridge amp Dienstfrey Hatch David and Stephen Millward 1987 From Blues to Rock an Analytical History of Pop Music Manchester University Press ISBN 0 7190 1489 1 Johnson Julian 2002 Who Needs Classical Music Cultural Choice and Musical Value Oxford University Press ISBN 0 19 514681 6 Kent Jeff 1983 The Rise and Fall of Rock Witan Books ISBN 0 9508981 0 4 Lonergan David F 2004 Hit Records 1950 1975 Scarecrow Press ISBN 0 8108 5129 6 Maultsby Portia K 7907 Intra and International Identities in American Popular Music Trading Culture Middleton Richard 1990 Studying Popular Music Open University Press Negus Bob 1999 Music Genres and Corporate Cultures Routledge ISBN 0 415 17399 X Pleasants Henry 1969 Serious Music and All That Jazz Simon amp Schuster Roxon Lillian 1969 Rock Encyclopedia Grosset amp Dunlap Shuker Roy 2002 Popular Music The Key Concepts Routledge 2nd edn ISBN 0 415 28425 2 Starr Larry amp Waterman Christopher 2002 American Popular Music From Minstrelsy to MTV Oxford University Press Watkins S Craig 2005 Hip Hop Matters Politics Pop Culture and the Struggle for the Soul of a Movement Beacon Press ISBN 0 8070 0982 2 External links Edit Wikiquote has quotations related to Pop music Wikimedia Commons has media related to Pop music The Consumption of Music and the Expression of Values A Social Economic Explanation for the Advent of Pop Music Wilfred Dolfsma American Journal of Economics and Sociology October 1999 Retrieved from https en wikipedia org w index php title Pop music amp oldid 1132580877, wikipedia, wiki, book, books, library,

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