Pop rock

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Pop rock (also typeset as pop/rock [3] ) is rock music with a greater emphasis on professional songwriting and recording craft, and less emphasis on attitude. [4] [1] Originating in the mid 1960s as an alternative to normal rock and roll and beat, early pop rock was influenced by beat music and surf rock arrangements, and the original style of rock and roll (and occasionally doo-wop). [1] It may be viewed as a distinct genre field, rather than music that overlaps with pop and rock. [3] The detractors of pop rock often deride it as a slick, commercial product, less authentic than normal rock music. [5]

Contents

Characteristics and etymology

American pop rock band Maroon 5 performing in 2007 Kanye West Maroon 5.jpg
American pop rock band Maroon 5 performing in 2007

Much pop and rock music has been very similar in sound, instrumentation and even lyrical content. The terms "pop rock" and "power pop" have been used to describe more commercially successful music that uses elements from, or the form of, rock music. [6] Writer Johan Fornas views pop/rock as "one single, continuous genre field", rather than distinct categories. [3] To the authors Larry Starr and Christopher Waterman, it is defined as an "upbeat variety of rock music" represented by artists and bands such as: Andy Kim, the Bells, Paul McCartney, Lighthouse, and Peter Frampton. [7]

The term pop has been used since the early twentieth century to refer to popular music in general, but from the mid-1950s it began to be used for a distinct genre, aimed at a youth market, often characterized as a softer alternative to rock and roll. [8] [1] In the aftermath of the British Invasion, from about 1967, it was increasingly used in opposition to the term rock music, to describe a form that was more commercial, ephemeral and accessible. [9]

As of the 2010s, "guitar pop rock" and "indie rock" are roughly synonymous terms. [10] "Jangle" is a noun-adjective that music critics often use in reference to guitar pop with a bright mood. [11]

Debates

Critic Philip Auslander argues that the distinction between pop and rock is more pronounced in the US than in the UK. He claims in the US, pop has roots in white crooners such as Perry Como, whereas rock is rooted in African-American music influenced by forms such as rock and roll. Auslander points out that the concept of pop rock, which blends pop and rock is at odds with the typical conception of pop and rock as opposites. Auslander and several other scholars such as Simon Frith and Grossberg argue that pop music is often depicted as an inauthentic, cynical, "slickly commercial" and formulaic form of entertainment. In contrast, rock music is often heralded as an authentic, sincere, and anti-commercial form of music, which emphasizes song writing by the singers and bands, instrumental virtuosity, and a "real connection with the audience". [12]

Simon Frith's analysis of the history of popular music from the 1950s to the 1980s has been criticized by B. J. Moore-Gilbert, who argues that Frith and other scholars have over-emphasized the role of "rock" in the history of popular music by naming every new genre using the "rock" suffix. Thus when a folk-oriented style of music developed in the 1960s, Frith terms it "folk rock", and the pop-infused styles of the 1970s were called "pop rock". Moore-Gilbert claims that this approach unfairly puts rock at the apex, and makes every other influence become an add-on to the central core of rock. [13]

In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau discussed the term "pop-rock" in the context of popular music's fragmentation along stylistic lines in the 1970s; he regarded "pop-rock" as a "monolith" that "straddled" all burgeoning movements and subgenres in the popular and semipopular music marketplace at the time, including singer-songwriter music, art rock, heavy metal, boogie, country rock, jazz fusion, funk, disco, black pop, and new wave, but not punk rock. [14]

See also

Related Research Articles

Pop music is a genre of popular music that originated in its modern forms in the US and the UK during the mid-1950s. The terms "popular music" and "pop music" are often used interchangeably, although the former describes all music that is popular and includes many diverse styles. "Pop" and "rock" were roughly synonymous terms until the late 1960s, when they became quite separated from each other.

Rock and roll is a genre of popular music that originated and evolved in the United States during the late 1940s and early 1950s from musical styles such as gospel, jump blues, jazz, boogie woogie, rhythm and blues, and country music. While elements of what was to become rock and roll can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until 1954.

Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the late 1940s and early 1950s, and developed into a range of different styles in the mid-1960s and later, particularly in the United States and the United Kingdom. It has its roots in 1940s and 1950s rock and roll, a style which drew heavily from the genres of blues, rhythm and blues, and from country music. Rock music also drew strongly from a number of other genres such as electric blues and folk, and incorporated influences from jazz, classical and other musical styles. Musically, rock has centered on the electric guitar, usually as part of a rock group with electric bass, drums, and one or more singers. Usually, rock is song-based music with a 4/4 time signature using a verse–chorus form, but the genre has become extremely diverse. Like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political.

Glam rock is a style of rock music that developed in the United Kingdom in the early 1970s performed by musicians who wore outrageous costumes, makeup, and hairstyles, particularly platform shoes and glitter. Glam artists drew on diverse sources across music and throwaway pop culture, ranging from bubblegum pop and 1950s rock and roll to cabaret, science fiction, and complex art rock. The flamboyant clothing and visual styles of performers were often camp or androgynous, and have been described as playing with nontraditional gender roles. Glitter rock was a more extreme version of glam.

Art rock is a subgenre of rock music that generally reflects a challenging or avant-garde approach to rock, or which makes use of modernist, experimental, or unconventional elements. Art rock aspires to elevate rock from entertainment to an artistic statement, opting for a more experimental and conceptual outlook on music. Influences may be drawn from genres such as experimental rock, avant-garde music, classical music, and jazz.

Hard rock is a loosely-defined subgenre of rock music typified by a heavy use of aggressive vocals, distorted electric guitars, bass guitar, and drums, sometimes accompanied with keyboards. It began in the mid-1960s with the garage, psychedelic and blues rock movements. Hard rock developed into a major form of popular music in the 1970s, with bands such as the Who, Boston, Led Zeppelin, Deep Purple, Aerosmith, Kiss, Queen, AC/DC and Van Halen. During the 1980s, some hard-rock bands moved away from their hard-rock roots and more towards pop rock. Established bands made a comeback in the mid-1980s and hard rock reached a commercial peak in the 1980s, with glam metal bands like Bon Jovi, and Def Leppard and the rawer sounds of Guns N' Roses, which followed up with great success in the later part of that decade.

Indie rock is a genre of rock music that originated in the United States and United Kingdom in the 1970s. Originally used to describe independent record labels, the term became associated with the music they produced and was initially used interchangeably with alternative rock. As grunge and punk revival bands in the US and Britpop bands in the UK broke into the mainstream in the 1990s, it came to be used to identify those acts that retained an outsider and underground perspective. In the 2000s, as a result of changes in the music industry and the growing importance of the Internet, some indie rock acts began to enjoy commercial success, leading to questions about its meaningfulness as a term.

Music journalism journalism genre

Music journalism is media criticism and reporting about music topics, including popular music, classical music and traditional music. Journalists began writing about music in the eighteenth century, providing commentary on what is now regarded as classical music. In the 1960s, music journalism began more prominently covering popular music like rock and pop after the breakthrough of The Beatles. With the rise of the internet in the 2000s, music criticism developed an increasingly large online presence with music bloggers, aspiring music critics, and established critics supplementing print media online. Music journalism today includes reviews of songs, albums and live concerts, profiles of recording artists, and reporting of artist news and music events.

British popular music

British popular music and popular music in general, can be defined in a number of ways, but is used here to describe music which is not part of the art/classical music or Church music traditions, including folk music, jazz, pop and rock music. These forms of music have particularly flourished in Britain, which, it has been argued, has influenced popular music disproportionately to its size, partly due to its linguistic and cultural links with many countries, particularly the former areas of British control such as United States, Canada, and Australia, but also a capacity for invention, innovation and fusion, which has led to the development of, or participation in, many of the major trends in popular music. This is particularly true since the early 1960s when the British Invasion led by The Beatles, helped to secure British performers a major place in development of pop and rock music, which has been revisited at various times, with genres originating in or being radically developed by British musicians, including: blues rock, heavy metal music, progressive rock, punk rock, British folk rock, folk punk, acid jazz, drum and bass, grime, afroswing, dubstep and Britpop.

Popular music of the United Kingdom in the 1980s built on the post-punk and new wave movements, incorporating different sources of inspiration from subgenres and what is now classed as world music in the shape of Jamaican and Indian music. It also explored the consequences of new technology and social change in the electronic music of synthpop. In the early years of the decade, while subgenres like heavy metal music continued to develop separately, there was a considerable crossover between rock and more commercial popular music, with a large number of more "serious" bands, like The Police and UB40, enjoying considerable single chart success. The advent of MTV and cable video helped spur what has been seen as a Second British Invasion in the early years of the decade, with British bands enjoying more success in America than they had since the height of the Beatles' popularity in the 1960s. However, by the end of the decade a fragmentation has been observed, with many new forms of music and sub-cultures, including hip hop and house music, while the single charts were once again dominated by pop artists, now often associated with the Hi-NRG hit factory of Stock Aitken Waterman. The rise of the indie rock scene was partly a response to this, and marked a shift away from the major music labels and towards the importance of local scenes like Madchester and subgenres, like gothic rock.

Simon Webster Frith OBE is a British sociomusicologist, and former rock critic, who specializes in popular music culture. He is Tovey Chair of Music at University of Edinburgh.

Cock rock Wikimedia list article

Cock rock is a genre of rock music that emphasizes a form of male sexuality. The style developed in the later 1960s, came to prominence in the 1970s and 1980s, and continues into the present day.

American rock rock music in the United States

American rock has its roots in 1940s and 1950s rock and roll, rhythm and blues, and country music, and also drew on folk music, jazz, blues, and classical music. American rock music was further influenced by the British Invasion of the American pop charts from 1964 and resulted in the development of psychedelic rock.

British rock music rock music made in or associated with the United Kingdom

British rock describes a wide variety of forms of music made in the United Kingdom. Since around 1964, with the "British Invasion" of the United States spearheaded by the Beatles, British rock music has had a considerable impact on the development of American music and rock music across the world.

Rockism and poptimism

Rockism is the belief that rock music is dependent on values such as authenticity and artfulness, and that such values elevate the genre over other forms of popular music. A rockist may also be someone who regards rock music as the normative state of popular music or who promotes the artifices stereotyped with the genre. Poptimism is the belief that pop music is as worthy of professional critique and interest as rock music. Detractors of poptimism describe it as a counterpart of rockism that unfairly privileges the most famous or best-selling pop, hip-hop, and R&B acts.

British pop music is popular music, produced commercially in the United Kingdom. It emerged in the mid-to late 1950s as a softer alternative to American rock 'n' roll. Like American pop music it has a focus on commercial recording, often orientated towards a youth market, as well as that of the Singles Chart usually through the medium of relatively short and simple love songs. While these basic elements of the genre have remained fairly constant, pop music has absorbed influences from most other forms of popular music, particularly borrowing from the development of rock music, and utilising key technological innovations to produce new variations on existing themes. From the British Invasion of rock bands in the 1960s, led by The Beatles, British pop music has alternated between acts and genres with national appeal and those with international success that have had a considerable impact on the development of the wider genre and on popular music in general.

Art pop is a loosely defined style of pop music influenced by pop art's integration of high and low culture, and which emphasizes the manipulation of signs, style, and gesture over personal expression. Art pop artists may be inspired by postmodern approaches or art theories as well as other forms of art, such as fashion, fine art, cinema, and avant-garde literature. They may deviate from traditional pop audiences and rock music conventions, instead exploring ideas such as pop's status as commercial art, notions of artifice and the self, and questions of historical authenticity.

A sentimental ballad is an emotional style of music that often deals with romantic and intimate relationships, and to a lesser extent, war, loneliness, death, drug abuse, politics and religion, usually in a poignant but solemn manner. Ballads are generally melodic enough to get the listener's attention.

Women in rock involvement of women in rock music and related genres

Women in rock describes the role of women singers, instrumentalists, record producers and other music professionals in rock music and popular music and the many subgenres and hybrid genres that have emerged from these genres. Women have a high prominence in many popular music styles as singers. However, professional women instrumentalists are uncommon in popular music, especially in rock genres such as heavy metal. "[P]laying in a band is largely a male homosocial activity, that is, learning to play in a band is largely a peer-based... experience, shaped by existing sex-segregated friendship networks. As well, rock music "...is often defined as a form of male rebellion vis-à-vis female bedroom culture."

References

  1. 1 2 3 4 5 6 7 8 9 10 "Early Pop/Rock". AllMusic .
  2. Borack, John M. (2007). Shake Some Action: The Ultimate Power Pop Guide. Not Lame Recordings. p. 7. ISBN   0-9797714-0-4.
  3. 1 2 3 Steven L. Hamelman (2004). But is it Garbage?: Pop rock is not the same as Pop music Trash. University of Georgia Press. p. 11. ISBN   978-0-8203-2587-3.
  4. "Pop/Rock". AllMusic .
  5. S. Jones, Pop music and the press (Temple University Press, 2002), p. 109.
  6. R. Shuker, Popular Music: the Key Concepts (Abingdon: Routledge, 2nd edn., 2005), ISBN   0-415-34770-X, p. 207.
  7. L. Starr and C. Waterman, American Popular Music (Oxford: Oxford University Press, 2nd edn, 2007), ISBN   0-19-530053-X, archived from the original on 17 February 2011.
  8. S. Frith, "Pop music" in S. Frith, W. Stray and J. Street, eds, The Cambridge Companion to Pop and Rock (Cambridge: Cambridge University Press, 2001), ISBN   0-521-55660-0, pp. 93–108.
  9. T. Warner, Pop Music: Technology and Creativity: Trevor Horn and the Digital Revolution (Aldershot: Ashgate, 2003), ISBN   0-7546-3132-X, p. 3.
  10. Plemenitas, Katja (2014). "The Complexity of Lyrics in Indie Music: The Example of Mumford & Sons". In Kennedy, Victor; Gadpaille, Michelle (eds.). Words and Music. Cambridge Scholars Publishing. p. 79. ISBN   978-1-4438-6438-1.
  11. Kamp, David; Daly, Steven (2005). The Rock Snob's Dictionary: An Essential Lexicon Of Rockological Knowledge . Broadway Books. p.  54. ISBN   978-0-7679-1873-2.
  12. P. Auslander, Liveness: Performance in a Mediatized Culture (London: Taylor & Francis, 1999), ISBN   0415196892.
  13. B. J. Moore-Gilbert, The Arts in the 1970s: Cultural Closure? (London: Routledge, 1994), ISBN   0-415-09906-4, p. 240.
  14. Christgau, Robert (1981). "The Decade". Christgau's Record Guide: Rock Albums of the Seventies . Ticknor & Fields. ISBN   0899190251 . Retrieved April 6, 2019 via robertchristgau.com.