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Music genre
Not to be confused with Pop Rocks
Pop rock (also typeset as pop/rock[4]) is a fusion genre characterized by a 3️⃣ strong commercial appeal,[5] with more emphasis on professional songwriting and recording craft, and less emphasis on attitude than standard rock 3️⃣ music.[6][7][1] Originating in the late 1950s as an alternative to normal rock and roll, early pop rock was influenced by 3️⃣ the beat, arrangements, and original style of rock and roll (and sometimes doo-wop).[1] It may be viewed as a distinct 3️⃣ genre field rather than music that overlaps with pop and rock.[4] The detractors of pop rock often deride it as 3️⃣ a slick, commercial product and less authentic than rock music.[8]
Characteristics and etymology [ edit ]
Much pop and rock music has 3️⃣ been very similar in sound, instrumentation and even lyrical content. The terms "pop rock" and "power pop" have been used 3️⃣ to describe more commercially successful music that uses elements from, or the form of, rock music.[9] Writer Johan Fornas views 3️⃣ pop/rock as "one single, continuous genre field", rather than distinct categories.[4] To the authors Larry Starr and Christopher Waterman, it 3️⃣ is defined as an "upbeat variety of rock music" represented by artists and bands such as: Andy Kim, the Bells, 3️⃣ Paul McCartney, Lighthouse, and Peter Frampton.[10]
The term pop has been used since the early forties to refer to popular music 3️⃣ in general, but from the mid-1950s it began to be used for a distinct genre, aimed at a youth market, 3️⃣ often characterized as a softer alternative to rock and roll.[11][1] In the aftermath of the British Invasion, from about 1967, 3️⃣ it was increasingly used in opposition to the term rock, to describe a form that was more commercial, ephemeral and 3️⃣ accessible.[12]
As of the 2010s, "guitar pop rock" and "indie rock" are roughly synonymous terms.[13] "Jangle" is a noun-adjective that music 3️⃣ critics often use in reference to guitar pop with a bright mood.[14]
Debates [ edit ]
Critic Philip Auslander argues that the 3️⃣ distinction between pop and rock is more pronounced in the US than in the UK. He claims that in the 3️⃣ US, pop has roots in white crooners such as Perry Como, whereas rock is rooted in African-American music influenced by 3️⃣ forms such as rock and roll. Auslander points out that the concept of pop rock, which blends pop and rock, 3️⃣ is at odds with the typical conception of pop and rock as opposites. Auslander and several other scholars, such as 3️⃣ Simon Frith and Grossberg, argue that pop music is often depicted as an inauthentic, cynical, "slickly commercial", and formulaic form 3️⃣ of entertainment. In contrast, rock music is often heralded as an authentic, sincere, and anti-commercial form of music, which emphasizes 3️⃣ songwriting by the singers and bands, instrumental virtuosity, and a "real connection with the audience".[15]
Frith's analysis of the history of 3️⃣ popular music from the 1950s to the 1980s has been criticized by B. J. Moore-Gilbert, who argues that Frith and 3️⃣ other scholars have overemphasized the role of rock in the history of popular music by naming every new genre using 3️⃣ the "rock" suffix. Thus, when a folk-oriented style of music developed in the 1960s, Frith termed it "folk rock", and 3️⃣ the pop-infused styles of the 1970s were called "pop rock". Moore-Gilbert claims that this approach unfairly puts rock at the 3️⃣ apex and makes every other influence become an add-on to the central core of rock.[16]
In Christgau's Record Guide: Rock Albums 3️⃣ of the Seventies (1981), Robert Christgau discussed the term "pop-rock" in the context of popular music's fragmentation along stylistic lines 3️⃣ in the 1970s; he regarded "pop-rock" as a "monolith" that "straddled" all burgeoning movements and subgenres in the popular and 3️⃣ semipopular music marketplace at the time, including singer-songwriter music, art rock, heavy metal, boogie, country rock, jazz fusion, funk, disco, 3️⃣ urban contemporary, and new wave, but not punk rock.[17]
See also [ edit ]
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