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The register of pop music
The document discusses the nature and characteristics of pop music, distinguishing it from other genres like folk, jazz, and classical music. It highlights the evolution of pop music since the 1920s, its cultural significance, common themes in lyrics, and the impact of technology on production. Additionally, it notes the influence of local pop music variations and popular themes associated with different decades.
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The register of pop music
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- 3. A body ofmusic which is distinguishable from popular, jazz, and folk music. - David Hatch and Stephen Millward
- 4. It is aprofessionalmusic which draws upon bothfolk music and fine arts music. - Pete Seeger
- 5. Althoughpopmusic is oftenseen as orientedtowards the singles charts it is not the sum ofall chart music, popmusic as a genre is usuallyseen as existing and developingseparately.
- 6. “Popmusic" maybe usedtodescribe a distinct genre,aimedat a youth market,often characterizedas a softer alternativeto rockand roll.
- 7. Theterm ‘pop’ wasfirst recordedas being used in 1926 –becausethis genre ofmusichad a popularfeel.
- 8. Hatch andMillward indicatethatmany eventsin the history of recordingin the 1920s can be seen as the birth of the modernpopmusic industry,includingin country, bluesand hillbillymusic.
- 9. Pop music hasbeendominatedbythe American and (from the mid-1960s) British music industries,whose influence has made popmusic something ofan international monoculture.
- 10. Most regions andcountries, likethe Philippines,have their own form ofpop music,sometimes producinglocal versions of wider trends, and lending them local characteristics.
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- 27. It aims toappeal to the general audiences rather than appealing to particular sub- culture or ideology.
- 28. There is anemphasis on craftsmanship rather than formal "artistic" qualities.
- 29. There is alsoan emphasis on recording, production, and technology, over live performance.
- 30. There is atendency to reflect existing trends rather than progressive developments
- 31. Much of popmusic is intended to encourage dancing, or it uses dance- oriented beatsor rhythms.
- 32. The main mediumof pop is the song with often2:30 – 4:00 minutesin length.
- 33. Common PopCategories * Country* Alternative * Christian * Classic Rock * Disco * Doo Wop * Gothic * Indie * Industrial * Metal * Oldies * Progressive * Punk and Hardcore * Rockabilly * Ska * SurfRock * NewWave/Synthpop
- 34. The lyrics ofmodern pop songs typically focus on simple themes although there are notable exceptions.
- 35. themes of POP MUSIC DavidH. Henard and Christian L. Rossetti. (AllYouNeedis Love? CommunicationInsightsFromPop Music'sNumber-One Hits)
- 36. Lyrics are asignificant predictor of a song’s commercial success.
- 37. The most popularthemes are largely emotional in natureand tend to reflect the cultural influences of the time.
- 38. The most consistentlypopular theme is “Breakup,” thoughthere are spikes of popularity ineach decade.
- 39. Top 12 Themesof Pop Music 1. loss 2. desire 3. aspiration 4. nostalgia 5. pain 6. breakup 7. rebellion 8. inspiration 9. jadedness 10. escapism 11. desperation 12. confusion
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- 46. The composer/songwritermust stayhiptocurrent musicalstyles. He or she often cannotaffordto take chances musically,as thiswillaffectthe marketabilityof their songs. They must be musical “chameleons”, ableto compose convincinglyin any and every musicalgenre. –Michael J.Johnson(2009)
- 47. To understanda pieceof music was to understand the composer’s intention,or at leasthis (normally) workings. And,since the creative artistfunctioned as an autonomous being it wasnotnecessary to delve outsidehis biography,or that of hismusic, in order to understandit. -Pippin(1991:61–4)
- 48. Some Apothegms onPopMusic(RobertWalser, 2003) • Unlikelanguage,musicoften seemsnottorequire translation. • Musicaljudgements canneverbedismissedassubjective; neither cantheyeverbecelebratedas objective. • You onlyhavetheproblem ofconnectingmusicand societyif you’veseparatedtheminthefirst place.
- 52. 10 words frompop music culture that made it into the dictionary
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- 55. 3. BLING Definition(OED): Apieceof ostentatiousjewellery.Hence:wealth; conspicuousconsumption.Or,adj: Ostentatious,flashy;designating flamboyantjewelleryordress.Also: thatglorifiesconspicuous consumption;materialistic.
- 56. 4. TWERK Definition(OED): Asexually provocativedanceordancemove involvingthrustingmovementsofthe bottomandhipswhileinalow, squattingstance.
- 57. 5. MIC DROP Definition(OED):Anactof intentionallydroppingamicrophone afteryouhavegivenaspeechor performance,asawayofmakingan impressiveending.
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- 60. 8. DISS(OR DISS) Definition(OED):Failuretoshow respect;abuse,disparagement;an expressionofscornorcontempt,an insult.
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Editor's Notes
- #6 Although pop music is often seen as oriented towards the singles charts it is not the sum of all chart music, WHICH HAS ALWAYS CONTAINED SONGS FROM A VARIETY OF SOURCES, INCLUDING CLASSICAL, JAZZ, ROCK, AND NOVELTY SONGS,
- #30 Melody rather than lyrics
- #31 Kung ano uso subong amo na. EDM, electropop ang uso subong, reflection of 90s and 80s
- #34 Pop music covers a wide sub-genre. It is because of the fact that it has been influenced by many other genres and because other genres, having been popular has crossed-over and are considered as pop music.
- #36 In response to calls for further investigation on the role of music and advertising, the authors of the current study analyzed popular music's most successful songs over a 50-year period (1960–2009). The current paper uses a combination of quantitative and qualitative approaches to uncover communication themes from nearly 1,000 songs that best resonated with mass audiences. The study identifies 12 communication themes and finds that they are used repeatedly over time; are largely emotional in nature; appear congruent with contemporary societal and environmental influences; and help predict a song's chances of commercial success. The results provide advertising professionals with a repertoire of themes for consideration in advertising and other marketing communications for mass audiences.
- #38 Go back to the defintion
- #39 Taylor Swift is the best example
- #41 PLAY MTV
- #42 PLAY MTV
- #43 PLAY MTV
- #44 PLAY MTV
- #45 PLAY MTV
- #47 Michael J. Johnson (Berklee College of Music), Pop Music Theory (Harmony, Form, and Music) 2009 Definition given above
- #48 PLAY MTV of ed Sheeran and taylor swift
- #49 1. We don’t imagine that we understand someone who is speaking a language with which we have no familiarity, but music can more easily be understood as interpretable within one’s own discursive competency. We often hear unfamiliar musical systems as not having system at all, or as warped versions of the systems we know. That is why music enables great understandings and misunderstandings across cultural boundaries. This phenomenon is both a caution for analysis and an object for it. 2. Since subjects are formed in culture, all understandings are intersubjective; since there is no way to stand outside cultural understandings, there can be no Archimedean objectivity. Thus we must work all the time with interpretations – our sense of what things mean and why they are the way they are. Musical interpretations are always open to refinement and contestation, but they are never arbitrary, and there is no way to avoid committing interpretation. So we work for the most illuminating ones, drawing upon our knowledge of history and of how music works and signifies. There is no one point of perfect perspective, and we can learn from other people, times and cultures so as to expand our individual understanding. 3. When analysts discuss musical texts, what usually goes unremarked is the tremendous cultural work that is required to textualize musical practices. What is patently a mode of human interaction that is enabled by particular histories and cultural ground is remade into an object with ‘internal’ properties. Texts are talismans of a lost provenance, the context of desires and dialogue that made their existence possible and meaningful. If that context is understood, a text can be analyzed as a kind of human utterance, in dialogue with other utterances.
- #50 youth are being impacted by the music they listened to, and how much attention they're paying to the music being played around them. What Kind of Impact Does Our Music Really Make on Society? Belinda Huang,
- #51 youth are being impacted by the music they listened to, and how much attention they're paying to the music being played around them.
- #52 What our parents used to dig, kids of today would deem as lame. And in a few years, the music we think is cool now will probably be outdated. It's nothing against the music. It's just a representation, a manifestation of what's constantly changing around us.
- #53 Pop music has become a part of our everyday lives that it has influenced our culture most especially our language. One evidence of its influence over the language is that many words from it has penetrated into the two biggest dictionaries in the world: the Merriam-Webster and the Oxford English Dictionary. Here are ten of those, mostly from hip-hop, that has become entries in the Oxford English Dictionary in 2013.But pop culture, particularly hip hop, has been responsible for some exceptionally useful recent additions to the dictionary, reawakening dormant words from their slumber, coining fresh terminology for the changing times, and in at least one case, making new compound words out of bits of old slang and then using them to take over the world. Here are 10 examples, all of which have been accepted by the Oxford English Dictionary or Cambridge Dictionary.
- #54 The phrase "you only live once" has a long and noble cultural heritage, dating back beyond the name of Johann Strauss II's 1855 waltz Man Lebt Nur Einmal to Johann Wolfgang von Goethe's play Clavigo from 1774. This features the line "one lives but once in the world", a phrase which lends itself to the less-thrilling alternative acronym OLBOW. More recently, The Grateful Dead's drummer Mickey Hart named his homestead YOLO Farm, because he didn't quite have enough money to buy it and had to talk himself into it. And then there's Drake, who named a mixtape YOLO, spraying the term liberally throughout his lyrics, including on The Motto, which is arguably the song that really pushed the term into common parlance, hashtags and all - so much so that he later attempted to claim he was due royalties derived from merchandise that featured the term, but was not successful.
- #55 t's not just the OED that has been picking up on the modern lingo that youngsters use. The Scrabble dictionary has also made allowances for buzzwords. One example that made BBC Radio 4 sit up and take notice was Snoop Dogg's old standby, the -izzle suffix. Originally created as a kind of underground language for street hustlers, akin to pig latin, Snoop picked it up and made it his own, introducing himself in the song Suited N Booted as "the big Snoopy D-O-double-jizzle". But it's shizzle that made it into the OED on common usage grounds. Of course, being a dictionary, they draw no lines between a term being used seriously by genuinely cool people, ironically by annoyingly cool people, or fogeyishly by old people. So the more fuss made about its inclusion, the more it earns the right to be included.
- #56 Originally coined (and accepted into the dictionary) in the doubled-up form of bling bling, this is a term that appears to have come from Jamaican slang for expensive jewellery, of the sort that might make one blink. It was next heard coming out of the mouths of New Orleans hip hop crew Cash Money Millionaires, who worked with rapper BG on the 1999 song Bling Bling. As there aren't that many useful celebratory words for the ostentatious accumulation of wealth, the term quickly began to crop up in other artists' work, and before long became used to describe a particularly spendthrift liftestyle, of the sort enjoyed by a newly rich musician on a spree. Or, in the case of Horrible Histories, as a neat way to encapsulate the temperamental differences between Oliver Cromwell and Charles II.
- #57 The first recorded modern use of the word "twerk" appears in a song called Do the Jubilee All by DJ Jubilee from 1993, but it's a word with a longer heritage than may first appear. The modern version seems to have originated in nightclubs as the name for a particular dance or style of dancing (as illustrated - poorly - by BBC Radio Scotland's Fred MacAuley, above), but the OED has a citation from 1820, in which Charles Clairmont, writing to Mary Shelley, author of Frankenstein, says, "Really the Germans do allow themselves such twists & twirks of the pen, that it would puzzle any one." In that instance, it seems to have been a fusion of twist and jerk, and that meaning has mostly carried on through the centuries. Twerk or twirk becoming a verb around 1848, used to describe the action of thumbs, spurs and even a kitten's tail. Which isn't that huge a jump to its modern meaning.
- #58 When a stand-up comedian or rapper has finished what he has to say, and wishes to suggest the conversation is at an end (because he won), that's when a good contemptuous drop of the microphone can be very effective. So effective, in fact, that it's been used as a humorous rhetorical tool by everyone from the President of the United States to Alex Turner at the 2014 Brit Awards to Prince Harry (as seen in the comedy sketch made to publicise the Invictus Games, above). Eric B. and Rakim mention it in their 1987 single I Ain't No Joke, with Rakim rapping, "I used to let the mic smoke / Now I slam it when I'm done and make sure it's broke." It has since become synonymous with the parting shot in a rap battle, and Eminem even claimed, "I get off stage right and drop the mic," to emphasise his loftier status than the rest of D12 in their 2004 song My Band.
- #59 The popular modern interpretation of the word jiggy, as most notably heard in Will Smith's Gettin' Jiggy wit It (or indeed If Ya Gettin' Down by Five, in which it is rhymed with "wiggy wiggy" for no clear reason) is suggestive of two things - uninhibited dancing or uninhibited sex. The connection with its past use to describe a particular kind of bracing folk music is less apparent. There's a reference in the 1916 novel Miss Theodosia's Heartstrings by Annie Hamilton Donnell to uptempo folk music as "jiggy tunes", meaning melodies with the rhythm of a jig. This specific meaning travelled through the bluegrass and country music communities in America, with fiddlers giving the name "jiggy bow" to a short bow, fit for speedy sawing across the strings.
- #60 Mullet (or mullethead) may have been used as a popular insult to someone's intelligence in 19th century America, but it's the Beastie Boys we can thank for popularising mullet as a term for that short on top, long at the back hairstyle that Sisco and Louise Redknapp are arguing about above. The most commonly cited reference is from a 1995 article in their magazine Grand Royal, but a year earlier, their 1994 song Mullet Head mercilessly mocked those afflicted with that style, yelling, "You're coming off like you're Van Damme / You've got Kenny G, in your Trans Am / You've got names like Billy Ray / Now you sing Hip Hop Hooray."
- #61 Diss is one of those slang terms that came out of hip hop's early years and now feels like an exceptionally useful item of linguistic furniture. It's short for disrespect, although the 1920s did see people using the term insultingly as an abbreviation of disconnected, meaning not quite all there. Diss songs or diss tracks (like the spoof Kanye diss track created for Charlie Sloth's show, above) are a key part of both hip hop and grime, with rappers flexing their lyrical muscles at the expense of a rival. Jay Z even went to the effort of calling his 2002 attack on Nas Super Ugly (Dissing Nas), just to make sure we all got the point.
- #62 Sometimes a word gets into the dictionary because it's the name of something that did not exist before, and that's the case with krump. Krumping and clowning are both highly energetic forms of hip hop dance. Clowning is the milder version, with krumping becoming a more aggressive form of dance, involving the dance equivalent of rap battles. The krumping style was developed in the early 2000s by clown dancers Ceasare Willis and Jo'Artis Ratti. A 2004 documentary by Dave LaChapelle popularised the dance style, which is now a truly worldwide phenomenon, being featured in several music videos, including Madonna's Hung Up and Galvanize by The Chemical Brothers.
- #63 Another word that came out of hip hop slang, was sent around the world by one particular hit song - in this case Bootylicious by Destiny's Child - and then entered the language as a common word, mostly out of a sense of fun. Mind you, not everyone likes it. Comedian Bridget Christie had a routine in her Radio 4 series Bridget Christie Minds the Gap about trying to find a modern feminist icon in popular culture who didn't appear to want to use it as a replacement for the more baggage-heavy (but accurate) feminism. It's not really a word that stands up to a lot of scrutiny, though, and the essential daftness of the song's original lyrical content can be seen in this send-up of Destiny's Child by Hal Cruttenden, Sean Keaveny and Mark Dolan for Let's Dance for Comic Relief.