Popular music is music with a wide appeal that is usually distributed to a wide audience through the music industry. These shapes and styles can be enjoyed and performed by people with little or no music training. This is very different from traditional music or "folk" music. The art of music has historically been disseminated through written musical performances, although since the beginning of the recording industry, it has also been disseminated through recordings. Traditional musical forms such as early blues singing or praise songs are orally passed, or to smaller local audiences.
The original application of this term was music from the Tin Pan Alley period of the 1880s in the United States. Although popular music is sometimes known as "pop music", the two terms are not interchangeable. Popular music is a generic term for a variety of musical genres that appeal to a large segment of the population, whereas pop music usually refers to certain music genres in popular music. Popular songs and pieces of music usually have an easy melody to sung. The structure of popular music songs generally involves repetition of parts, with verse and choir or refrain repeating the entire song and bridge providing contrast and transition sections in a song.
In the 2000s, with songs and pieces available as digital sound files, it became easier for music to spread from one country or region to another. Some forms of popular music have become global, while others have a wide appeal in their culture of origin. Through a mixture of musical genres, new forms of popular music were created to reflect the ideals of global culture. Examples of Africa, Indonesia and the Middle East show how Western pop music styles can blend with local musical traditions to create new hybrid styles.
Video Popular music
Definisi
Scholars have classified music as "popular" based on various factors, including whether a song or part becomes known to the listener primarily from listening to music (in contrast to classical music, where many musicians learn pieces from sheet music); its appeal to a diverse audience, its treatment as a market commodity in a capitalist context, and other factors. Sales of 'recording' or sheet music is one size. Middleton and Manuel note that this definition has problems because many who listen to or play the same song or piece of work do not count. Evaluating attractiveness based on the size of the audience (mass appeal) or whether the audience is a particular social class is another way to define popular music, but it also has problems in the social categories of people who can not be applied accurately to music styles. Manuel states that one criticism of popular music is that it is produced by a large media conglomerate and passively consumed by the public, who simply buy or reject what music is produced. He claims that the listeners in the screenplay will not be able to make their favorite musical choice, which negates the previous conception of popular music. In addition, "the understanding of popular music has changed over time". Middleton argues that if research had to be done in the field of popular music, there would be a degree of stability in society to characterize the historical period, the distribution of music, and the pattern of influence and continuity in popular music styles.
Anahid Kassabian separates popular music into four categories; "popular as populist," or have the tone of freedom and expression; "popular as a people," or declaring that music is written by people, for themselves; "Popular as a counterpoint," or empowering citizens to act against the oppression they face; and "popular as a mass," or music becomes a tool for oppression. The popular music of society reflects the ideals that were prevalent at the time it was done or published. David Riesman stated that young viewers of popular music fit into a majority or subculture group. The majority group listens to a commercially produced style while the subculture finds minority styles to transmit their own value. This allows youth to choose what music they identify, which gives them the power as consumers to control the popular music market.
Maps Popular music
Western popular music form
The forms in popular music are the most frequent, the most common parts are the temple, chorus or refrain, and bridge. Other common forms include thirty-two-bar forms, chorus shape * (Middleton pg 30), and twelve-bar blues. Popular music songs are rarely composed using different music for each verse of the lyrics (songs composed in this mode are said to be "through-composition").
Verses and choirs are considered the main elements. Each verse usually has the same melody (perhaps with slight modification), but the lyrics change for most verses. Chorus (or "refrain") usually has a melodic phrase and repeating key lyric lines. Pop songs may have an introduction and coda ("tag"), but these elements are not important for the identity of most songs. Pop songs that use verses and choruses often have bridges, which, as the name implies, are the passages that connect verses and chorus to one or more points in the song.
Verse and chorus are usually repeated throughout the song, while bridges, intros, and coda (also called "outro") tend to be used only once. Some pop songs may have solo parts, especially in pop rock or blues-influenced. During the solo section, one or more instruments play a melodic line that may be a melody used by the singer, or, in a blues-influenced pop or jazz, solo can be improvised based on chords. A solo usually features a single instrumental player (eg, guitarist or harmonica player) or more rarely, more than one instrumentalist (eg, trumpet player and saxophonist).
The shape of the thirty-two bars uses four parts, most often eight lengths each (4ÃÆ' â € "8 = 32), two verses or part A, contrasting part B (bridge or" middle-eight ") and the return of this verse in one last A section (AABA). The form of choir or ABA form can be combined with the AABA form, in the form of AABA combined. Variations like a1 and a2 can also be used. The repetition of a chord can mark the only part in a simple verse form like twelve blues bars.
Development in North America and Europe
Industry
"The most significant feature of the popular music industry that emerged in the late 18th and early 19th centuries was the extent of its focus on the commodity form of sheet music". The availability of popular songs that are inexpensive and widely available from popular songs and instrumental pieces of music allow music to be disseminated to a wide audience of middle and amateur music makers, who can play and sing popular music at home. The making of amateur music in the 19th century is often centered around the piano, as it can play melodies, chords and basslines, allowing a pianist to reproduce popular songs and pieces. In addition to the influence of sheet music, other factors are the increasing availability during the late 18th and early 19th century popular public music performances in "fun parks and dance halls, popular theaters and concert halls".
Popular early music players work hand in hand with the sheet music industry to promote popular music sheets. One of the earliest popular music players to achieve widespread popularity was Swedish opera singer Jenny Lind, who toured the US in the mid-19th century. In addition to making amateurish living room music during the 19th century, more and more people began to engage in music during this era by participating in amateur choirs, joining brass bands or playing in amateur orchestras.
The center of the music publishing industry in the US during the late 19th century was in New York's 'Tin Pan Alley' district. Music publisher Tin Pan Alley developed a new method to promote sheet music: the incessant promotion of new songs. One technological innovation that helps spread popular music around the turn of the century is the player piano. A piano player can be used to record the pianist of an accomplished piano player. This recorded appearance can be "played back" in the piano of other players. This allows more music lovers to hear new popular piano songs. In the early 1900s, a major trend in popular music was the increasing popularity of vaudeville theater and ballroom and the invention of new - gramophone players. Recording industry is growing very rapidly; "In 1920 there were almost 80 record companies in the UK, and nearly 200 in the United States". The availability of records allows a greater percentage of the population to hear the top singers and bands.
Music radio broadcasting, which began in the early 1920s, helped spread popular songs to a wide audience, allowing a much larger proportion of the population to hear songs performed by professional singers and musical ensembles, including individuals from low-income groups who previously would not be able to afford concert tickets. Radio broadcasts enhance the ability of songwriters, singers, and bandleaders to become nationally known. Another factor that helped spread popular music was the introduction of "talking pictures" - sound films - in the late 1920s, which also included music and songs. In the late 1920s and throughout the 1930s, there was a movement toward consolidation in the recording industry, which led to several large companies dominating the recording industry.
In the 1950s and 1960s, the invention of new television began to play an increasingly important role in spreading new popular music. Performances regularly showcase popular singers and bands. In the 1960s, the development of new technologies in recording, such as multitrack recorders gave voice engineers and record manufacturers an increasingly important role in popular music. Using multitrack recording techniques, voice technicians can create new sounds and sound effects that are not possible using traditional "live" recording techniques, such as singers who perform their own backup vocals or have a lead guitarist playing rhythm guitar behind their guitar solos. During the 1960s psychedelic music, recording studios were used to create a more unusual sound, to mimic the effects of taking hallucinogenic drugs, some songs using instrument cassettes played backwards or highlighting music from one side to the other. stereo image.
In the 1970s, the consolidation trend in the recording industry continued to the point that "... dominance is in the hands of five large transnational organizations, three American property (WEA, RCA, CBS) and two European-owned companies (EMI, Polygram)." In the 1990s, the consolidation trend took a new turn: consolidation between media. This trend sees record companies consolidated with movies, television, magazines, and other media companies, an approach that facilitates cross-marketing promotion among subsidiaries. For example, a recording company's singer star can be cross-promoted by television talk shows and the conglomerate magazine arms.
"The introduction of digital equipment (mixing tables, synthesizers, samplers, sequencers)" in the 1990s resulted in what the Grove Dictionary of Music dubbed the creation of a "new sound world", as well as facilitating DIY music productions by amateur musicians and "small independent record label". In the 1990s, the availability of sound recording software and effects unit software meant that indie amateur bands could record albums - which required a complete recording studio in previous decades - using little more than laptops and microphones of good quality. Nevertheless, the audio quality of the modern recording studio is still beyond what an amateur can produce.
Criticism
Global perspective
In contrast to Western popular music, popular music genres outside Western countries, are categorized into World music. This label changes the style of popular music into an exotic and unknown category . Western concept 'World Music' homogenizes many different popular music genres under one accessible term for Western audiences. New media technology has led to the style of urban music to filter into distant rural areas around the world. The countryside, in turn, can provide feedback to the city centers on new musical styles. Urbanization, modernization, exposure to foreign music and mass media have contributed to the urban pop style of hybrids. The hybrid style has also found space in Western popular music through their national cultural expressions. Recipient culture borrows elements from the host culture and changes the meanings and context found in the host culture. Many Western styles, in turn, have become an international style through multinational recording studios.
Africa
The style of popular African music comes from the traditional entertainment genre, rather than evolving from music used with certain traditional ceremonies such as weddings, births, or funerals. Popular African music as a whole has been influenced by European countries, African-Americans and Afro-Latin music, and regional-specific styles that became popular in more and more people. Although due to the strong significance and position of culture in traditional African music, popular African music tends to remain within the roots of African Traditional Music. The musical genre, Maskanda, is popular in its native culture, South Africa. Although mascanda is a genre of traditional music by definition, the people who listen to it affect the ideals that are featured in the music. A famous mask artist, Phuzekhemisi, should reduce the political influence in his music to be ready for public space. His music producer, West Nikosi, is looking for commercial success in Phuzekhemisi music rather than initiating political controversy.
Political songs have become an important category of African popular music in many societies. During the continent's struggle against the colonial government, the nationalistic song increased the morale of the citizens. These songs are based on Western parades and hymns that reflect the European educational system where early nationalist leaders grew in. Not all African political songs are based on Western style. For example, in South Africa, political songs during the Anti-Apartheid Movement are based on traditional tribal styles along with hybrid forms of the import genre. Activists use protests and freedom songs to persuade individuals to act, be educated with struggle, and empower others to become politically aware. These songs reflect the nuances between the different classes involved in the liberation struggle.
One of the genres that Africans use for political expression is Hip hop. Although hip hop in Africa is based on a North American template, it has been remade to produce a new meaning for African youth. This allows the genre to be local and influential globally. African youth are shaped by the rapidly growing ability of the genre to communicate, educate, empower, and entertain. Artists who will start in a genre of traditional music, such as maskanda, become hip hop artists to provide a stronger career path for themselves. These rappers compare themselves to traditional artists such as griot and oral storytellers, both of which have a role in reflecting the internal dynamics of larger societies. African hip hop creates a culture of youth, community intelligence, and global solidarity.
Asia
Indonesia
Popular music in Indonesia can be categorized as a hybrid form of western rock to genres originating from Indonesia and natives in style. The music genre, Dangdut, is a popular music genre specially found in Indonesia. Dangdut formed two other popular music styles, Indo-pop and Underground, together to create a new hybrid or fusion genre. Genre takes on noisy instrumentation from Underground, but it still makes it easy to listen like an Indo-pop. Dangdut tries to form many popular music genres such as rock, pop, and traditional music to create new sounds that are parallel to the tastes of consumers. This genre has established a larger social movement that includes clothing, youth culture, Islamic awakening, and the capitalist entertainment industry.
Another popular music scene in Indonesia is Punk rock. This genre was formed in Indonesia by local media interpretation of the larger global punk movement. Jeremy Wallach argues that while Green Day is seen as a "punk death," in Indonesia they are the catalyst for a larger punk movement. Punk in Indonesia is calling on the English-speaking world to embrace the global cult of punk culture and to be open-minded towards the transnational genre.
China
In a 2015 study involving young students in Shanghai, the youths stated that they enjoyed listening to Chinese music, other Asian nationalities, and Anglo-American popular music. There are three ways that young Chinese people can access global music. The first reason is the change of policy since the late 1970s where the country was opened to the whole world instead of being independent. This creates more opportunities for Chinese people to interact with people outside their home country to create a more globalized culture. The second reason is that China's television and music industry since the 1980s has broadcast television shows from Asian and Western societies. The third reason is the impact of internet and smartphone on the accessibility of streaming music.
By 2015, students in China account for 30.2% of China's Internet population and third and fifth most popular internet uses are respectively, internet music and internet video usage. The youths describe the ability to connect with Chinese music and emotion, but also enjoy the melodies found in Anglo-American music. Students also believe that listening to English music will improve their English skills.
Middle East
Modernization of music in the Arab world involves borrowing inspiration from Turkish music and Western music styles. The late Egyptian singer Umm Kulthum stated,
"We have to respect ourselves and our art. The Indians have provided a good example for us - they show great respect for themselves and their art.Whereever they are, they wear their original outfits and their music is known in the whole world, this is the right way. "
He discusses this to explain why Egypt and the Arab world need to feel proud of the popular music styles that come from their culture so that the styles are not lost in modernization. Local musicians learn Western instrumental styles to create their own popular styles including their native language and original music features. People across the Arab world place a high value on the identity of their original music while assimilating new musical styles from neighboring countries or mass media. Throughout the 1980s and 1990s, popular music has been seen as a problem for the Iranian government because of the non-religious significance in music and body movements of dancing or headbanging. During this period, the metal became a popular underground subculture in the Middle East. Just like their Western counterparts, Middle Eastern metal followers expressed their feelings of alienation. But their minds come from war and social restrictions on youth.
In an Iranian adolescent interview between 1990 and 2004, youth as a whole preferred Western popular music, even though it was banned by the government. Iran's underground rock band consists of young, urban-minded, educated, relatively wealthy members and global creatures. The Iranian rock is depicted by the traits that the band members possess. Youth who take part in underground music in the Middle East are aware of the social constraints of their country, but they are not optimistic about social change. Iranian rock bands have taken an internationalist position to express their rebellion from discourse in their national government.
See also
- Music radio
- Popular culture
- List of popular music artists
- List of popular music genres
- Popular music pedagogy
- List of titles of honor in popular music
- Music popularity index
- Volume!
References
Further reading
- T.W. Adorno with G. Simpson: 'On Popular Music', Study in Philosophy and Social Sciences , ix (1941), 17-48
- R. Iwaschkin: Popular Music: Reference Guide (New York, 1986)
- P. Hardy and D. Laing: The Faber Companion to the 20th Century Popular Music (London, 1990/R)
- Larry Freeman: The Melody Lingers on: 50 Years of Popular Songs (Watkins Glen, N.Y.: Century House, 1951). 212 p. N.B .: Includes chronology, "50 Years Hits Song", at p.Ã, 193-215.
- Haddix, Chuck. Rags to Be-bop: Kansas City Music Sound, 1890-1945 . [Text by] Chuck Haddix (Kansas City, Mo.: University of Missouri at Kansas City, University Library, Marr Sound Archive, 1991). No ISBN
- J. Kotarba, B. Merrill, J. P. Williams, & amp; P. Vannini Understanding Society through Popular Music. NY: Routledge, 2013 (second edition) ISBNÃ, 9780415 641951
- R. Middleton: Learning Popular Music (Milton Keynes, 1990)
- P. Gammond: The Oxford Companion to Popular Music (Oxford, 1991)
- D. Brackett: Interpreting Popular Music (Cambridge, 1995)
- M. Sorce Keller: "Continuing Opera in Other Ways: Opera, Neapolitan Song, and popular music among Italian immigrants abroad", Forum Italicum , Vol. XLIX (2015), No. 3, 1- 20.
External links
- Popular music genres - interactive relationship diagrams
- Famous Music Videos - Music Video Database I have not seen anything from my favorite song base - YouTube, Google Video, MySpace TV, MetaCafe, DailyMotion, Veoh, Current.com, ClipFish.de, MyVideo.de, Break. com and EyeSpot
- Sunday-Sunday 1950s - Sunday - Appears in pop/album/radio and music news for decades.
- Pop Culture Madness Show the most requested pop songs of the 1920s to the present day
- The Daily Vault music review
- Yale Music Library's Guide to Pop Music Research
- Volume! a French academic journal dedicated to the study of popular music
- ÃÆ' â € ° ditions MÃÆ' Â © lanie SeteunÃ,! French publisher dedicated to the study of popular music - publishes Volume !, French journal PMS.
Source of the article : Wikipedia
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