|Stylistic oreegins||Tradeetional pop • Rhythm an blues • Jazz • Fowk • Doo-wop • Dance • Classical • Rock an roll|
|Cultural oreegins||1950s, Unitit Kinrick an Unitit States|
|Typical instruments||Vocals • Synthesizer • Drum machine • Sequencer • Sampler • guitar • Drums • Bass guitar • Keybuird • Piano • occasional uise o various ither instruments|
|Mainstream popularity||Continuous warldwide syne emergence|
|Baroque pop • Bubblegum pop • Christian pop • Dance-pop • Europop • Operatic pop • Pouer pop • Soundtrack • Sophisti-pop • Synthpop • Space age pop • Sunshine pop • Tradeetional pop • Teen pop|
|Bubblegum pop • Kintra pop • Disco • Dream pop • Indie pop • Jangle pop • New Wave • Noise pop • Pop punk • Pop rock • Psychedelic pop • Smooth jazz • Urban pop • Wonky pop|
|Cheenae • Japan • Korea • Laitin kintras • Malaysie • Pakistan • Philippines • Taiwan • Turkey • Unitit States • Unitit Kinrick • Swaden|
Pop muisic (a term that oreeginally derives frae an abbreviation o "popular") is a genre o popular muisic which oreeginatit in its modren form in the 1950s, derivin frae rock an roll. The terms popular muisic an pop muisic are aften uised interchyngeably, even tho the umwhile is a description o muisic which is popular (an can include ony style).
As a genre, pop muisic is vera eclectic, aften borraein elements frae ither styles includin urban, dance, rock, Laitin an kintra; nanetheless, thare are core elements which define pop. Such include generally short-tae-middlin lenth sangs, written in a basic format (aften the verse-chorus structur), as well as the common employment o repeatit choruses, melodic tunes, an catchy heuks.
So-cried "pur pop" muisic, such as pouer pop, featurs aw these elements, uisin electric guitars, drums an bass for instrumentation; in the case o such muisic, the main goal is uisually that o bein pleasurable tae listen tae, rather than haein hintle airtistic depth. Pop muisic is generally thocht o as a genre which is commercially recordit an desires tae hae a mass audience appeal.
David Hatch an Stephen Millward define pop muisic as "a body o muisic which is distinguishable frae popular, jazz an fowk muisics". Awtho pop muisic is aften seen as orientit towards the singles chairts it is no the sum o aw chairt muisic, which haes aye contained sangs frae a variety o sources, includin classical, jazz, rock, an novelty sangs, while pop muisic as a genre is uisually seen as existin an developin separately. Thus "pop muisic" mey be uised tae describe a distinct genre, aimit at a youth mercat, aften characterisit as a softer alternative tae rock an roll.
The term "pop sang" is first recordit as bein uised in 1926, in the sense o a piece o muisic "haein popular appeal". Hatch an Millward indicate that mony events in the history o recordin in the 1920s can be seen as the birth o the modren pop muisic industrie, includin in kintra, blues an hillbilly muisic.
Accordin tae Grove Music Online, the term "pop muisic" "originatit in Breetain in the mid-1950s as a description for rock an roll an the new youth muisic styles that it influencit ...". The Oxford Dictionary of Music states that while pop's "earlier meanin meant concerts appealin tae a wide audience ...[;] syne the late 1950s, housomeivver, pop haes haed the special meanin o nan-classical muis[ic], uisually in the form o sangs, performit bi such airtists as the Beatles, the Rolling Stones, ABBA, etc." Grove Music Online states that "... in the early 1960s [the term] ‘pop muisic’ competit terminologically wi Beat muisic [in Ingland] an aw, while in the USA its coverage owerlappit (as it still does) wi that o ‘rock an roll’." Chambers' Dictionary mentions the contemporary usage of the term "pop art"; Grove Music Online states that the "term pop muisic ... seems tae hae been a spin-aff frae the terms pop airt an pop cultur, coined slichtly earlier, an referrin tae a whole range o new, aften American, media-cultur products".
From about 1967 the term was increasingly used in opposition to the term rock music, a division that gave generic significance to both terms. Whereas rock aspired to authenticity and an expansion of the possibilities of popular music, pop was more commercial, ephemeral and accessible. According to Simon Frith pop music is produced "as a matter of enterprise not art", is "designed to appeal to everyone" and "doesn't come from any particular place or mark off any particular taste". 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".
- Bill Lamb, "What Is Pop Music? A Definition", About.com, retrieved 8 March 2012.
- 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.
- 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.
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- 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.
- R. Middleton, et al, "Pop", Grove music online, retrieved 14 March 2010. (subscription needit)
- "Pop", The Oxford Dictionary of Music, retrieved 9 March 2010.(subscription needit)
- A. M. Macdonald, ed., Chambers' Twentieth Century Dictionary (Edinburgh: Chambers Harrap, 1977), ISBN 0-550-10231-0, cf. pop.
- Kenneth Gloag in The Oxford Companion to Music, (Oxford: Oxford University Press, 2001), ISBN 0-19-866212-2, p. 983.
- T. Warner, Pop Music: Technology and Creativity: Trevor Horn and the Digital Revolution (Aldershot: Ashgate, 2003), ISBN 0-7546-3132-X, pp. 3-4.
- S. Frith, "Pop music", in 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. 95–6.