Pop music - Wikipedia

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. Popmusic FromWikipedia,thefreeencyclopedia Jumptonavigation Jumptosearch Genreofmusic Thisarticleisaboutaspecificmusicgenre.Forpopularmusicingeneral,seePopularmusic.Forotheruses,seePopmusic(disambiguation). "Popsong"redirectshere.Forotheruses,seePopSong. PopStylisticorigins Traditionalpop[1] rockandroll[2] folk[3] CulturaloriginsMid-1950s,[4]UnitedStatesandUnitedKingdomDerivativeforms Newwave[5][6][7] Subgenres Artpop BrillBuilding bubblegum dance-pop operaticpop orchestralpop sadpop schlager sophisti-pop sunshinepop synth-pop teenpop wonkypop(completelist) Fusiongenres Baroquepop countrypop contemporaryR&B cowboypop dancehallpop electropop emopop folk-pop hypnagogicpop indiepop poppunk poprap ambientpop poprock powerpop psychedelicpop spaceagepop worldbeat Regionalscenes Austria China Colombia France HongKong India Indonesia Iran Italy Japan Kazakhstan Malaysia Mexico MiddleEast Morocco Netherland Pakistan Philippines Russia Scandinavia SouthAmerica SouthKorea Sweden Taiwan Thailand Turkey UnitedKingdom UnitedStates Vietnam WesternEurope Othertopics Avant-pop experimentalpop Hyperpop NewPop popmusicautomation poptimism rockmusic Popmusicisagenreofpopularmusicthatoriginatedinitsmodernformduringthemid-1950sintheUnitedStatesandtheUnitedKingdom.[4]Thetermspopularmusicandpopmusicareoftenusedinterchangeably,althoughtheformerdescribesallmusicthatispopularandincludesmanydisparatestyles.Duringthe1950sand1960s,popmusicencompassedrockandrollandtheyouth-orientedstylesitinfluenced.Rockandpopmusicremainedroughlysynonymousuntilthelate1960s,afterwhichpopbecameassociatedwithmusicthatwasmorecommercial,ephemeral,andaccessible. Althoughmuchofthemusicthatappearsonrecordchartsisconsideredtobepopmusic,thegenreisdistinguishedfromchartmusic.Identifyingfactorsusuallyincluderepeatedchorusesandhooks,shorttomedium-lengthsongswritteninabasicformat(oftentheverse-chorusstructure),andrhythmsortemposthatcanbeeasilydancedto.Muchpopmusicalsoborrowselementsfromotherstylessuchasrock,R&B/Hip-Hop,dance,Latin,andcountry. Contents 1Definitionsandetymology 2Characteristics 3Developmentandinfluence 3.1Technologyandmedia 3.2Stylisticevolution 3.3Internationalspreadandcrosspollination 3.421stcentury 4Seealso 5References 6Furtherreading 7Externallinks Definitionsandetymology[edit] DavidHatchandStephenMillwarddescribepopmusicas"abodyofmusicwhichisdistinguishablefrompopular,jazz,andfolkmusic".[8] AccordingtoPeteSeeger,popmusicis"professionalmusicwhichdrawsuponbothfolkmusicandfineartsmusic".[3] DavidBoyle,amusicresearcher,statespopmusicasanytypeofmusicthatapersonhasbeenexposedtobythemassmedia.[9]Mostindividualsthinkthatpopmusicisjustthesingleschartsandnotthesumofallchartmusic.Themusicchartscontainsongsfromavarietyofsources,includingclassical,jazz,rock,andnoveltysongs.Asagenre,popmusicisseentoexistanddevelopseparately.[10]Therefore,theterm"popmusic"maybeusedtodescribeadistinctgenre,designedtoappealtoall,oftencharacterizedas"instantsingles-basedmusicaimedatteenagers"incontrasttorockmusicas"album-basedmusicforadults".[4][12] Popmusiccontinuouslyevolvesalongwiththeterm'sdefinition.AccordingtomusicwriterBillLamb,popularmusicisdefinedas"themusicsinceindustrializationinthe1800sthatismostinlinewiththetastesandinterestsoftheurbanmiddleclass."[13]Theterm"popsong"wasfirstusedin1926,inthesenseofapieceofmusic"havingpopularappeal".[14]HatchandMillwardindicatethatmanyeventsinthehistoryofrecordinginthe1920scanbeseenasthebirthofthemodernpopmusicindustry,includingincountry,blues,andhillbillymusic.[15] TheOxfordDictionaryofMusicstatesthattheterm"pop"referstomusicperformedbysuchartistsastheRollingStones(picturedhereina2006performance). AccordingtothewebsiteofTheNewGroveDictionaryofMusicandMusicians,theterm"popmusic""originatedinBritaininthemid-1950sasadescriptionforrockandrollandthenewyouthmusicstylesthatitinfluenced",thisishoweverunsubstantiated.[2]TheOxfordDictionaryofMusicstatesthatwhilepop's"earliermeaningmeantconcertsappealingtoawideaudience[...]sincethelate1950s,however,pophashadthespecialmeaningofnon-classicalmus[ic],usuallyintheformofsongs,performedbysuchartistsasTheBeatles,TheRollingStones,ABBA,etc."[16]GroveMusicOnlinealsostatesthat"[...]intheearly1960s,[theterm]'popmusic'competedterminologicallywithbeatmusic[inEngland],whileintheUSitscoverageoverlapped(asitstilldoes)withthatof'rockandroll'".[2] Fromabout1967,theterm"popmusic"wasincreasinglyusedinoppositiontothetermrockmusic,adivisionthatgavegenericsignificancetobothterms.[17]Whilerockaspiredtoauthenticityandanexpansionofthepossibilitiesofpopularmusic,[17]popwasmorecommercial,ephemeral,andaccessible.[18]AccordingtoBritishmusicologistSimonFrith,popmusicisproduced"asamatterofenterprisenotart",andis"designedtoappealtoeveryone"but"doesn'tcomefromanyparticularplaceormarkoffanyparticulartaste".Frithaddsthatitis"notdrivenbyanysignificantambitionexceptprofitandcommercialreward[...]and,inmusicalterms,itisessentiallyconservative".Itis,"providedfromonhigh(byrecordcompanies,radioprogrammers,andconcertpromoters)ratherthanbeingmadefrombelow ...Popisnotado-it-yourselfmusicbutisprofessionallyproducedandpackaged".[4] Characteristics[edit] TheRighteousBrothers–"You'veLostThatLovin'Feelin'"(1965) Asof2011[update],"You'veLostThatLovin'Feelin'"ranksasthemostfrequentlyplayedsonginUSradiohistory.[19]ItisdescribedbymusicwritersNickLoganandBobWoffindenas"theultimatepoprecord".[20] Problemsplayingthisfile?Seemediahelp. AccordingtoFrith,characteristicsofpopmusicincludeanaimofappealingtoageneralaudience,ratherthantoaparticularsub-cultureorideology,andanemphasisoncraftsmanshipratherthanformal"artistic"qualities.[4]Besides,Frithalsooffersthreeidentifyingcharacteristicsofpopmusic:lightentertainment,commercialimperatives,andpersonalidentification.Popmusicgrewoutofalightentertainment/easylisteningtradition.[21]Popmusicismoreconservativethanothermusicgenressuchasfolk,blues,country,andtradition.Manypopsongsdonotcontainthemesofresistance,opposition,orpoliticalthemes,ratherfocusingmoreonloveandrelationships.Therefore,popmusicdoesnotchallengeitsaudiencessocially,anddoesnotcausepoliticalactivism.Frithalsosaidthemainpurposeofpopmusicistocreaterevenue.Itisnotamediumoffreearticulationofthepeople.Instead,popmusicseekstosupplythenatureofpersonaldesireandachievetheinstantempathywithclichepersonalities,stereotypes,andmelodramathatappealstolisteners.Itismostlyabouthowmuchrevenuepopmusicmakesforrecordcompanies.[22]MusicscholarTimothyWarnersaidpopmusictypicallyhasanemphasisonrecording,production,andtechnology,ratherthanliveperformance;atendencytoreflectexistingtrendsratherthanprogressivedevelopments;andseekstoencouragedancingorusesdance-orientedrhythms.[18] Themainmediumofpopmusicisthesong,oftenbetweentwoandahalfandthreeandahalfminutesinlength,generallymarkedbyaconsistentandnoticeablerhythmicelement,amainstreamstyleandasimpletraditionalstructure.[23]Thestructureofmanypopularsongsisthatofaverseandachorus,thechorusservingastheportionofthetrackthatisdesignedtostickintheearthroughsimplerepetitionbothmusicallyandlyrically.Thechorusisoftenwherethemusicbuildstowardsandisoftenprecededby"thedrop"wherethebassanddrumparts"dropout".[24]Commonvariantsincludetheverse-chorusformandthethirty-two-barform,withafocusonmelodiesandcatchyhooks,andachorusthatcontrastsmelodically,rhythmicallyandharmonicallywiththeverse.[25]Thebeatandthemelodiestendtobesimple,withlimitedharmonicaccompaniment.[26]Thelyricsofmodernpopsongstypicallyfocusonsimplethemes –oftenloveandromanticrelationships –althoughtherearenotableexceptions.[4] Harmonyandchordprogressionsinpopmusicareoften"thatofclassicalEuropeantonality,onlymoresimple-minded."[27]Clichésincludethebarbershopquartet-styleharmony(i.e.ii–V–I)andbluesscale-influencedharmony.[28]Therewasalesseningoftheinfluenceoftraditionalviewsofthecircleoffifthsbetweenthemid-1950sandthelate1970s,includinglesspredominanceforthedominantfunction.[29] Developmentandinfluence[edit] Technologyandmedia[edit] BingCrosbywasoneofthefirstartiststobenicknamed"KingofPop"or"KingofPopularMusic".[30][verificationneeded] Inthe1940s,improvedmicrophonedesignallowedamoreintimatesingingstyleand,tenortwentyyearslater,inexpensiveandmoredurable45rpmrecordsforsingles"revolutionizedthemannerinwhichpophasbeendisseminated",whichhelpedtomovepopmusicto"arecord/radio/filmstarsystem".[31]Anothertechnologicalchangewasthewidespreadavailabilityoftelevisioninthe1950swithtelevisedperformances,forcing"popstarshadtohaveavisualpresence".[31]Inthe1960s,theintroductionofinexpensive,portabletransistorradiosmeantthatteenagersinthedevelopedworldcouldlistentomusicoutsideofthehome.[31]Bytheearly1980s,thepromotionofpopmusichadbeengreatlyaffectedbytheriseofmusictelevisionchannelslikeMTV,which"favouredthoseartistssuchasMichaelJacksonandMadonnawhohadastrongvisualappeal".[31] Multi-trackrecording(fromthe1960s)anddigitalsampling(fromthe1980s)havealsobeenutilizedasmethodsforthecreationandelaborationofpopmusic.[4]Duringthemid-1960s,popmusicmaderepeatedforaysintonewsounds,styles,andtechniquesthatinspiredpublicdiscourseamongitslisteners.Theword"progressive"wasfrequentlyused,anditwasthoughtthateverysongandsinglewastobea"progression"fromthelast.[32]MusiccriticSimonReynoldswritesthatbeginningwith1967,adividewouldexistbetween"progressive"popand"mass/chart"pop,aseparationwhichwas"also,broadly,onebetweenboysandgirls,middle-classandworking-class."[33] Thelatterhalfofthe20th-centuryincludedalarge-scaletrendinAmericancultureinwhichtheboundariesbetweenartandpopmusicwereincreasinglyblurred.[34]Between1950and1970,therewasadebateofpopversusart.[35]Sincethen,certainmusicpublicationshaveembracedthemusic'slegitimacy,atrendreferredtoas"poptimism".[35] Stylisticevolution[edit] The1960sBritishInvasionmarkedaperiodwhentheUSchartswereinundatedwithBritishactssuchastheBeatles(pictured1964). Throughoutitsdevelopment,popmusichasabsorbedinfluencesfromothergenresofpopularmusic.Earlypopmusicdrewonthesentimentalballadforitsform,gaineditsuseofvocalharmoniesfromgospelandsoulmusic,instrumentationfromjazzandrockmusic,orchestrationfromclassicalmusic,tempofromdancemusic,backingfromelectronicmusic,rhythmicelementsfromhip-hopmusic,andspokenpassagesfromrap.[4][verificationneeded]In2016,aScientificReportsstudythatexaminedover464,000recordingsofpopularmusicrecordedbetween1955and2010foundthat,comparedto1960spopmusic,contemporarypopmusicusesasmallervarietyofpitchprogressions,greateraveragevolume,[36]lessdiverseinstrumentationandrecordingtechniques,andlesstimbralvariety.[37]ScientificAmerican'sJohnMatsonreportedthatthis"seemstosupportthepopularanecdotalobservationthatpopmusicofyorewas"better",oratleastmorevaried,thantoday'stop-40stuff".However,healsonotedthatthestudymaynothavebeenentirelyrepresentativeofpopineachgeneration.[37] Inthe1960s,themajorityofmainstreampopmusicfellintwocategories:guitar,drumandbassgroupsorsingersbackedbyatraditionalorchestra.[38]Sinceearlyinthedecade,itwascommonforpopproducers,songwriters,andengineerstofreelyexperimentwithmusicalform,orchestration,unnaturalreverb,andothersoundeffects.SomeofthebestknownexamplesarePhilSpector'sWallofSoundandJoeMeek'suseofhomemadeelectronicsoundeffectsforactsliketheTornados.[39]Atthesametime,popmusiconradioandinbothAmericanandBritishfilmmovedawayfromrefinedTinPanAlleytomoreeccentricsongwritingandincorporatedreverb-drenchedrockguitar,symphonicstrings,andhornsplayedbygroupsofproperlyarrangedandrehearsedstudiomusicians.[40]A2019studyheldbyNewYorkUniversityinwhich643participantshadtorankhowfamiliarapopsongistothem,songsfromthe1960sturnedouttobethemostmemorable,significantlymorethansongsfromrecentyears2000to2015.[41] Beforetheprogressivepopofthelate1960s,performersweretypicallyunabletodecideontheartisticcontentoftheirmusic.[42]Assistedbythemid-1960seconomicboom,recordlabelsbeganinvestinginartists,givingthemthefreedomtoexperiment,andofferingthemlimitedcontrolovertheircontentandmarketing.[43]Thissituationdeclinedafterthelate1970sandwouldnotreemergeuntiltheriseofInternetstars.[43]Indiepop,whichdevelopedinthelate1970s,markedanotherdeparturefromtheglamourofcontemporarypopmusic,withguitarbandsformedonthethen-novelpremisethatonecouldrecordandreleasetheirownmusicwithouthavingtoprocurearecordcontractfromamajorlabel.[44] The1980sarecommonlyrememberedforanincreaseintheuseofdigitalrecording,associatedwiththeusageofsynthesizers,withsynth-popmusicandotherelectronicgenresfeaturingnon-traditionalinstrumentsincreasinginpopularity.[45]By2014,popmusicworldwidehadbeenpermeatedbyelectronicdancemusic.[46]In2018,researchersattheUniversityofCalifornia,Irvine,concludedthatpopmusichasbecome'sadder'sincethe1980s.Theelementsofhappinessandbrightnesshaveeventuallybeenreplacedwithelectronicbeatsmakingpopmusicmore'sadyetdanceable'.[47] Internationalspreadandcrosspollination[edit] MichaelJackson(left)andMadonna(right),knownrespectivelyasthe"KingandQueenofPop"sincethe1980s.[48] PopmusichasbeendominatedbytheAmericanand(fromthemid-1960s)Britishmusicindustries,whoseinfluencehasmadepopmusicsomethingofaninternationalmonoculture,butmostregionsandcountrieshavetheirownformofpopmusic,sometimesproducinglocalversionsofwidertrends,andlendingthemlocalcharacteristics.[49]Someofthesetrends(forexampleEuropop)havehadasignificantimpactonthedevelopmentofthegenre.[50] ThestoryofpopmusicislargelythestoryoftheintertwiningpopcultureoftheUnitedStatesandtheUnitedKingdominthepostwarera.  —BobStanley[46] AccordingtoGroveMusicOnline,"Western-derivedpopstyles,whethercoexistingwithormarginalizingdistinctivelylocalgenres,havespreadthroughouttheworldandhavecometoconstitutestylisticcommondenominatorsinglobalcommercialmusiccultures".[51]Somenon-Westerncountries,suchasJapan,havedevelopedathrivingpopmusicindustry,mostofwhichisdevotedtoWestern-stylepop.JapanhasforseveralyearsproducedagreaterquantityofmusicthaneverywhereexcepttheUS.[clarificationneeded][51]ThespreadofWestern-stylepopmusichasbeeninterpretedvariouslyasrepresentingprocessesofAmericanization,homogenization,modernization,creativeappropriation,culturalimperialism,oramoregeneralprocessofglobalization.[51] OneofthepopmusicstylesthatdevelopedalongsideothermusicstylesisLatinpop,whichroseinpopularityintheUSduringthe1950swithearlyrockandrollsuccessRitchieValens.[52]Later,asLosLobosgarneredmajorChicanorockpopularityduringthe1970sand1980s,musicianSelenasawlarge-scalepopmusicpresenceasthe1980sand1990sprogressed,alongwithcrossoverappealwithfansofTejanomusicpioneersLydiaMendozaandLittleJoe.[53]WithlaterHispanicandLatinoAmericansseeingsuccesswithinpopmusiccharts,1990spopsuccessesstayedpopularinboththeiroriginalgenresandinbroaderpopmusic.[54]Latinpophitsingles,suchas"Macarena"byLosdelRíoand"Despacito"byLuisFonsi,haveseenrecord-breakingsuccessonworldwidepopmusiccharts.[55] 21stcentury[edit] Atthebeginningofthe2000s,thetrendsthatdominatedduringthelate1990sstillcontinued,butthemusicindustrystartedtochangeaspeoplebegantodownloadmusicfromtheinternet.Peoplewereabletodiscovergenresandartiststhatwereoutsideofthemainstreamandpropelthemtofame,butatthesametimesmallerartistshadahardertimemakingalivingbecausetheirmusicwasbeingpirated.[56]PopularartistswereAvrilLavigne,NSYNC,ChristinaAguilera,Destiny'sChild,andBritneySpears.Popmusicoftencamefrommanydifferentgenres,witheachgenreinturninfluencingthenextone,blurringthelinesbetweenthemandmakingthemlessdistinct.ThischangewasepitomizedinthealbumFutureSex/LoveSounds,whichundertheinfluenceofproducerTimbaland,mixedthesoundsofR&B,dancemusic,andhiphop.[57] Bytheyear2010,popmusicimpactedbydancemusiccametobedominantonthecharts.Insteadoftheradiosettingthetrends,itwasnowtheclub."Thenewbubbleisallthecollectiveclubsaroundtheworld.Radioisjustdoingitsbesttokeepup,"saidWill.i.am.atthebeginningofthedecade.[58]Songsthattalkedofescapismthroughpartyingbecamethemostpopular,influencedbytheimpulsetoforgettheeconomictroublesthathadtakenovertheworldafterthe2008crash.[59]ThemostpopularartistsofthiserawereTaylorSwift,LadyGaga,theBlackEyedPeas,andKatyPerry. Seealso[edit] Popmusicportal Musicportal Honorificnicknamesinpopularmusic Originsofrockandroll Popularmusicpedagogy Listofmusicgenresandstyles Historyofmusic Publicdomainmusic Listoflargestrecordedmusicmarkets Musicgenre References[edit] ^TraditionalPop,Allmusic.com.Retrieved25August2016 ^abcR.Middleton,etal.,"Pop",Grovemusiconline,retrieved14March2010.(subscriptionrequired)Archived13January2011attheWaybackMachine ^abGilliland,John(1969)."Show1–PlayASimpleMelody:PeteSeegerontheoriginsofpopmusic"(audio).PopChronicles.UniversityofNorthTexasLibraries. ^abcdefghS.Frith,W.Straw,andJ.Street,eds,TheCambridgeCompaniontoPopandRock(Cambridge:CambridgeUniversityPress),ISBN 0-521-55660-0,pp. 95–105. ^"Pop/Rock »Punk/NewWave »NewWave".allmusic.com.Retrieved9December2021. ^"The50BestNewWaveAlbums".Paste.13October2020.Retrieved9December2021. ^"Q&AwithTheoCateforis,authorofAreWeNotNewWave?ModernPopattheTurnofthe1980s"(PDF).UniversityofMichigan.Retrieved9December2021. ^D.HatchandS.Millward,FromBluestoRock:anAnalyticalHistoryofPopMusic(Manchester:ManchesterUniversityPress,1987),ISBN 0-7190-1489-1,p.1. ^Boyle,J.David;Hosterman,GlennL.;Ramsey,DarhylS.(1981-04-01)."FactorsInfluencingPopMusicPreferencesofYoungPeople".JournalofResearchinMusicEducation.29(1):47–55.doi:10.2307/3344679.ISSN 0022-4294.JSTOR 3344679.S2CID 145122624. ^R.SergeDenisoffandWilliamL.Schurk,TarnishedGold:theRecordIndustryRevisited(NewBrunswick,NJ:TransactionPublishers,3rdedn.,1986),ISBN 0-88738-618-0,pp.2–3. ^Moore,AllanF.(2016).SongMeans:AnalysingandInterpretingRecordedPopularSong.Routledge.ISBN 978-1-317-05265-4. ^MusicologistAllanMooresurmisesthattheterm"popmusic"itselfmayhavebeenpopularizedbyPopart.[11] ^Lamb,Bill(29September2018)."WhatIsPopMusic?".ThoughtCo. ^J.SimpsonandE.Weiner,OxfordEnglishDictionary(Oxford:OxfordUniversityPress,1989).ISBN 0-19-861186-2,cf.pop. ^D.HatchandS.Millward,FromBluestoRock:anAnalyticalHistoryofPopMusic,ISBN 0-7190-1489-1,p.49. ^"Pop",TheOxfordDictionaryofMusic,retrieved9March2010.(subscriptionrequired)Archived12November2017attheWaybackMachine ^abKennethGloaginTheOxfordCompaniontoMusic(Oxford:OxfordUniversityPress,2001),ISBN 0-19-866212-2,p.983. ^abT.Warner,PopMusic:TechnologyandCreativity:TrevorHornandtheDigitalRevolution(Aldershot:Ashgate,2003),ISBN 0-7546-3132-X,pp. 3–4. ^"Van'sBrownEyedGirlhitsthe10millionmarkinUS".BBC.5October2011. ^SteveSullivan(2013).EncyclopediaofGreatPopularSongRecordings,Volume2.ScarecrowPress.pp. 101–103.ISBN 978-0-8108-8296-6. ^Rojek,Chris(2011).Popmusic,popculture.Polity;1stedition(June13,2011).pp. 2–3.ISBN 978-0745642642. ^Rojek,Chris(2011).Popmusic,popculture.Polity;1stedition(June13,2011).pp. 2–3. ^W.Everett,ExpressioninPop-rockMusic:ACollectionofCriticalandAnalyticalEssays(London:Taylor&Francis,2000),p.272. ^"CharacteristicsofPopMusic:AnIntroduction".Cmuse.org.9December2019.Retrieved2020-07-07. ^J.Shepherd,ContinuumEncyclopediaofPopularMusicoftheWorld:Performanceandproduction(Continuum,2003),p.508. ^V.Kramarz,ThePopFormulas:HarmonicToolsoftheHitMakers(MelBayPublications,2007),p.61. ^Winkler,Peter(1978)."Towardatheoryofpopharmony",InTheoryOnly,4,pp. 3–26. ^Sargeant,p.198.citedinWinkler(1978),p.4. ^Winkler(1978),p.22. ^Gilliland,John(1994).PopChroniclesthe40s:TheLivelyStoryofPopMusicinthe40s. ^abcdD.Buckley,"Pop""II.Implicationsoftechnology",GroveMusicOnline,retrieved15March2010. ^Hewitt,Paolo;Hellier,John(2015).SteveMarriott:AllTooBeautiful.DeanStreetPress.p. 162.ISBN 978-1-910570-69-2. ^Reynolds,Simon(2006)."NewPopanditsAftermath".OnRecord:Rock,PopandtheWrittenWord.Routledge.p. 398.ISBN 978-1-134-93951-0. ^Edmondson,Jacqueline,ed.(2013).MusicinAmericanLife:AnEncyclopediaoftheSongs,Styles,Stars,andStoriesthatShapedourCulture.ABC-CLIO.pp. 317,1233.ISBN 978-0-313-39348-8. ^abLoss,Robert(August10,2015)."NoApologies:ACritiqueoftheRockistv.PoptimistParadigm".PopMatters. ^Serrà,Joan;Corral,Álvaro;Boguñá,Marián;Haro,Martín;Arcos,JosepLl.(2012)."MeasuringtheEvolutionofContemporaryWesternPopularMusic".ScientificReports.2:521.arXiv:1205.5651.Bibcode:2012NatSR...2E.521S.doi:10.1038/srep00521.PMC 3405292.PMID 22837813. ^abJohnMatson,"IsPopMusicEvolving,orIsItJustGettingLouder?",ScientificAmerican,26July2012.Retrieved30March2016 ^"MakingArrangements—ARoughGuideToSongConstruction&Arrangement,Part1".SoundonSound.October1997.Archivedfromtheoriginalon8May2014.Retrieved8May2014. ^Blake,Andrew(2009)."Recordingpracticesandtheroleoftheproducer".InCook,Nicholas;Clarke,Eric;Leech-Wilkinson,Daniel(eds.).TheCambridgeCompaniontoRecordedMusic.CambridgeUniversityPress.p. 45.ISBN 978-1-139-82796-6. ^Pareles,Jon(October31,2008)."OrchestralPop,theWayItWas(MoreorLess)".TheNewYorkTimes.RetrievedJuly4,2013. ^"Thegreatestdecadeforpopmusichasbeenrevealed(accordingtoscience)".Smooth.Retrieved2019-03-31. ^Willis,PaulE.(2014).ProfaneCulture.PrincetonUniversityPress.p. 217.ISBN 978-1-4008-6514-7. ^abMoore2016,p. 202. ^Abebe,Nitsuh(24October2005),"TweeasFuck:TheStoryofIndiePop",PitchforkMedia,archivedfromtheoriginalon24February2011 ^Collins,Glenn(1988-08-29)."RapMusic,BrashAndSwaggering,EntersMainstream".TheNewYorkTimes. ^abChristgau,Robert(2014)."Anti-Rockism'sHallofFame".TheBarnes&NobleReview.RetrievedAugust18,2015. ^"Newstudyfindspopmusichasgottenextremelydepressingbutalsomorefuntodanceto".TheFADER.Retrieved2018-05-21. ^McGee,Alan(August20,2008)."MadonnaPopArt".TheGuardian.RetrievedApril17,2013. ^J.Kun,Audiotopia:Music,Race,andAmerica(Berkeley,CA:UniversityofCaliforniaPress,2005),ISBN 0-520-24424-9,p.201. ^"Starprofiles"inS.Frith,W.StrayandJ.Street,TheCambridgeCompaniontoPopandRock(CambridgeUniversityPress,2001),ISBN 0-521-55660-0,pp.199–200. ^abcP.Manuel,"Pop.Non-Westerncultures1.Globaldissemination",GroveMusicOnline,retrieved14March2010. ^"LosLobos,RitchieValens,andtheDaytheMusicDied".StrachwitzFronteraCollection.February16,2017.RetrievedNovember18,2020. ^Lucero,MarioJ.(3January2020)."Theproblemwithhowthemusicstreamingindustryhandlesdata".Quartz.RetrievedNovember18,2020. ^Aldama,A.J.;Sandoval,C.;García,P.J.(2012).PerformingtheUSLatinaandLatinoBorderlands.IndianaUniversityPress.p. 224.ISBN 978-0-253-00295-2.RetrievedFebruary14,2020. ^Villafañe,Veronica(August14,2017)."StillNo.1,Record-Breaking'Despacito'Ties'Macarena'StreakOnHot100,ButIsSnubbedByMTV".Forbes.RetrievedFebruary14,2020. ^Ghoshal,Abhimanyu(2018-12-28)."Anostalgiclookbackatdigitalmusicpiracyinthe2000s".TNW|Insights.Retrieved2022-07-27. ^Hova,Tray(2011-02-07)."StudioStories:Danja[Pg.2]".VIBE.com.Retrieved2022-07-27. ^Herrera,Monica(2010-12-10)."2010inMusic:TheYearThatWentPop".Billboard.Retrieved2022-07-27. ^"BoppingThroughtheBailouts:WhytheGreatRecessionLedtoGreatMusic".afterglow.Retrieved2022-07-27. Furtherreading[edit] Adorno,TheodorW.,(1942)"OnPopularMusic",InstituteofSocialResearch. Bell,JohnL.,(2000)TheSingingThing:ACaseforCongregationalSong,GIAPublications,ISBN 1-57999-100-9 Bindas,KennethJ.,(1992)America'sMusicalPulse:PopularMusicinTwentieth-CenturySociety,Praeger. Clarke,Donald,(1995)TheRiseandFallofPopularMusic,StMartin'sPress.[1] Dolfsma,Wilfred,(1999)ValuingPopMusic:Institutions,ValuesandEconomics,Eburon. Dolfsma,Wilfred,(2004)InstitutionalEconomicsandtheFormationofPreferences:TheAdventofPopMusic,EdwardElgarPublishing. Frith,Simon,Straw,Will,Street,John,eds,(2001),TheCambridgeCompaniontoPopandRock,CambridgeUniversityPress, Frith,Simon(2004)PopularMusic:CriticalConceptsinMediaandCulturalStudies,Routledge. Gillett,Charlie,(1970)TheSoundoftheCity.TheRiseofRockandRoll,Outerbridge&Dienstfrey. Hatch,DavidandStephenMillward,(1987),FromBluestoRock:anAnalyticalHistoryofPopMusic,ManchesterUniversityPress,ISBN 0-7190-1489-1 Johnson,Julian,(2002)WhoNeedsClassicalMusic?:CulturalChoiceandMusicalValue,OxfordUniversityPress,ISBN 0-19-514681-6. Kent,Jeff,(1983)TheRiseandFallofRock,WitanBooks,ISBN 0-9508981-0-4. Lonergan,DavidF.,(2004)HitRecords,1950–1975,ScarecrowPress,ISBN 0-8108-5129-6. Maultsby,PortiaK.,(7907)Intra-andInternationalIdentitiesinAmericanPopularMusic,TradingCulture. Middleton,Richard,(1990)StudyingPopularMusic,OpenUniversityPress. Negus,Bob,(1999)MusicGenresandCorporateCultures,Routledge,ISBN 0-415-17399-X. Pleasants,Henry(1969)SeriousMusicandAllThatJazz,Simon&Schuster. Roxon,Lillian,(1969)RockEncyclopedia,Grosset&Dunlap. Shuker,Roy,(2002)PopularMusic:TheKeyConcepts,Routledge,(2ndedn.)ISBN 0-415-28425-2. Starr,Larry&Waterman,Christopher,(2002)AmericanPopularMusic:FromMinstrelsytoMTV,OxfordUniversityPress. Watkins,S.Craig,(2005)HipHopMatters:Politics,PopCulture,andtheStrugglefortheSoulofaMovement,BeaconPress,ISBN 0-8070-0982-2. Externallinks[edit] WikiquotehasquotationsrelatedtoPopmusic. WikimediaCommonshasmediarelatedtoPopmusic. TheConsumptionofMusicandtheExpressionofValues:ASocialEconomicExplanationfortheAdventofPopMusic,WilfredDolfsma,AmericanJournalofEconomicsandSociology,October1999. vtePopmusicStylisticorigins TinPanAlley Traditionalpop Rockandroll Styles Ambientpop Artpop Avant-pop Baroquepop BrillBuilding Bubblegumpop Carolinabeach ContemporaryR&B Countrypop Cowboypop Cringepop Dancehallpop Dance-pop Dance-rock Discopolo Doo-wop Dreampop Experimentalpop Glammetal Hyperpop Hypnagogicpop Industrialpop NewPop Noisepop Operaticpop Orchestralpop Chamberpop Poprap Poprock Emopop Indiepop Tweepop Janglepop Dunedinsound PaisleyUnderground Popmetal Poppunk Powerpop Progressivepop Psychedelicpop Quietstorm Sadpop Sophisti-pop Spaceagepop Sunshinepop Swamppop Synth-pop Electrohouse Electroclash Electropop Electropunk Freestyle Teenpop Traditionalpop Wonkypop Worldbeat RegionalvariantsAfrica Africa Afrobeats Moroccanpop TheAmericas American Argentine Brazilian Latin Colombian Mexican Nuevaola Asia Arabic Assyrian Azerbaijani Chinese Cantopop Taiwanese HongKongEnglishpop Mandarin FrenchMandopop Xinyao Zhongguofeng Chinoiserie Indian Bhangra Filmi Indonesian Iranian Japanese Citypop Shibuya-kei Kazakhstani Korean Lao Malaysian Pakistani Philippine Thai Turkish Vietnamese Europe British Europop Austropop Eurodance Folk-pop Chalga Laïko Manele Tallava Turbo-folk Frenchpop Yé-yé Hungarian Italian Nederpop Nederbeat Russian Scandipop Swedish Schlager Serbian Turbo-folk NorthMacedonian Čalgija Romanian Manele SFRYugoslavia SovietUnion Bard VIAmusic Ukrainian Notableartists BTS ElvisPresley Madonna MichaelJackson Shakira TheBeatles Relatedtopics Celebrity Fans Bobbysoxer Sasaengfan Teenybopper Wota Honorificnicknames Popmusicautomation Popularmusicpedagogy Rockismandpoptimism Songwriter Talentmanager Talentagent Teenidol Boyband Girlgroup Verse–chorusform Virtualband vteMediacultureMedia Massmedia Mainstreammedia 24-hournewscycle Newsbroadcasting Newsmedia Ideology Mainstream Advancedcapitalism AmericanDream Bipartisanship Consumerism Penséeunique Popmusic DeceptionForms Advertising Propaganda Fakenews Publicrelations Spin Tabloidjournalism Techniques Cultofpersonality Dumbingdown Framing Mediacircus Mediaevent Narcotizingdysfunction Recuperation Sensationalism Viralphenomenon Others Catchandkill Crowdmanipulation Managingthenews Mediamanipulation Philosophers TheodorW.Adorno JeanBaudrillard EdwardBernays NoamChomsky GuyDebord WalterLippmann MarshallMcLuhan JacquesRancière Counterculture Boycott Call-outculture Cancelculture Civildisobedience Culturejamming Demonstration Graffiti Occupation Politicalsatire Protest Punk Reviewbomb Strikeaction Inacademia Influenceofmassmedia Mediastudies Mediatization Semioticdemocracy TheLonelyCrowd Issues Anonymity Concentrationofmediaownership Freedomofspeech Mediabias Privacy Socialinfluence Synonyms Advancedcapitalism Cultureindustry Masssociety Post-Fordism SocietyoftheSpectacle vteWesternworldandcultureFoundations Cradleofcivilization OldWorld Greco-Romanworld Greece Rome RomanEmpire Western Eastern Romanlegacy Romanization Romano-Germanicculture Christendom History EuropeanBronzeAge Classicalantiquity Lateantiquity MiddleAges early high late Renaissance Earlymodernperiod AgeofDiscovery Reformation AgeofEnlightenment ScientificRevolution Latemodernperiod AgeofRevolution Abolitionism Emancipation Capitalism IndustrialRevolution GreatDivergence Modernera WorldWarI Interwarperiod Universalsuffrage WorldWarII ColdWar Post–ColdWarera Informationage Waronterror SecondColdWar Culture Alphabet Greek Latin Cyrillic Architecture Art Periods Calendar Cuisine Diet Classicaltradition Studies Clothing History Dance Esotericism Astrology Folklore Law Languages Eurolinguistics StandardAverageEuropean Literature Canon Media Internet Music Chant Classical Folk Mythology Painting(contemporary) Philosophy Science Values Religion East–WestSchism WesternChristianity Decline Secularism Philosophy Hellenisticphilosophy Judeo-Christianethics Christianphilosophy Scholasticism Rationalism Empiricism Existentialism Christianexistentialism Humanism Christianhumanism Secularhumanism Liberalism Conservatism Socialism Continentalphilosophy Analyticphilosophy Post-structuralism Tolerance Paradox Relativism Peritrope Atlanticism Religion Judaism Culture Christianity Culture Western/Eastern CatholicChurch LatinChurch EasternOrthodoxy Protestantism Paganism Baltic Celtic Finnish Germanic Anglo-Saxon Frankish Gothic OldNorse Hellenistic Roman Slavic Neo Agnosticism Atheism Law Naturallaw Ruleoflaw Equalitybeforethelaw Constitutionalism Humanrights Life Thought Speech Press Religion Property Democracy Internationallaw Contemporaryintegration ABCANZArmies Anglo-PortugueseAlliance ANZUS ArcticCouncil AUKUS BalticAssembly Benelux British–IrishCouncil BucharestNine CouncilofEurope CraiovaGroup EEA EFTA ESA EU EUCustomsUnion Eurozone EU–UKTradeandCooperationAgreement FiveEyes G7 LancasterHouseTreaties LublinTriangle 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