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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 🌟 strong commercial appeal,[5] with more emphasis on professional songwriting and recording craft, and less emphasis on attitude than standard rock 🌟 music.[6][7][1] Originating in the late 1950s as an alternative to normal rock and roll, early pop rock was influenced by 🌟 the beat, arrangements, and original style of rock and roll (and sometimes doo-wop).[1] It may be viewed as a distinct 🌟 genre field rather than music that overlaps with pop and rock.[4] The detractors of pop rock often deride it as 🌟 a slick, commercial product and less authentic than rock music.[8]

Characteristics and etymology [ edit ]

Much pop and rock music has 🌟 been very similar in sound, instrumentation and even lyrical content. The terms "pop rock" and "power pop" have been used 🌟 to describe more commercially successful music that uses elements from, or the form of, rock music.[9] Writer Johan Fornas views 🌟 pop/rock as "one single, continuous genre field", rather than distinct categories.[4] To the authors Larry Starr and Christopher Waterman, it 🌟 is defined as an "upbeat variety of rock music" represented by artists and bands such as: Andy Kim, the Bells, 🌟 Paul McCartney, Lighthouse, and Peter Frampton.[10]

The term pop has been used since the early forties to refer to popular music 🌟 in general, but from the mid-1950s it began to be used for a distinct genre, aimed at a youth market, 🌟 often characterized as a softer alternative to rock and roll.[11][1] In the aftermath of the British Invasion, from about 1967, 🌟 it was increasingly used in opposition to the term rock, to describe a form that was more commercial, ephemeral and 🌟 accessible.[12]

As of the 2010s, "guitar pop rock" and "indie rock" are roughly synonymous terms.[13] "Jangle" is a noun-adjective that music 🌟 critics often use in reference to guitar pop with a bright mood.[14]

Debates [ edit ]

Critic Philip Auslander argues that the 🌟 distinction between pop and rock is more pronounced in the US than in the UK. He claims that in the 🌟 US, pop has roots in white crooners such as Perry Como, whereas rock is rooted in African-American music influenced by 🌟 forms such as rock and roll. Auslander points out that the concept of pop rock, which blends pop and rock, 🌟 is at odds with the typical conception of pop and rock as opposites. Auslander and several other scholars, such as 🌟 Simon Frith and Grossberg, argue that pop music is often depicted as an inauthentic, cynical, "slickly commercial", and formulaic form 🌟 of entertainment. In contrast, rock music is often heralded as an authentic, sincere, and anti-commercial form of music, which emphasizes 🌟 songwriting by the singers and bands, instrumental virtuosity, and a "real connection with the audience".[15]

Frith's analysis of the history of 🌟 popular music from the 1950s to the 1980s has been criticized by B. J. Moore-Gilbert, who argues that Frith and 🌟 other scholars have overemphasized the role of rock in the history of popular music by naming every new genre using 🌟 the "rock" suffix. Thus, when a folk-oriented style of music developed in the 1960s, Frith termed it "folk rock", and 🌟 the pop-infused styles of the 1970s were called "pop rock". Moore-Gilbert claims that this approach unfairly puts rock at the 🌟 apex and makes every other influence become an add-on to the central core of rock.[16]

In Christgau's Record Guide: Rock Albums 🌟 of the Seventies (1981), Robert Christgau discussed the term "pop-rock" in the context of popular music's fragmentation along stylistic lines 🌟 in the 1970s; he regarded "pop-rock" as a "monolith" that "straddled" all burgeoning movements and subgenres in the popular and 🌟 semipopular music marketplace at the time, including singer-songwriter music, art rock, heavy metal, boogie, country rock, jazz fusion, funk, disco, 🌟 urban contemporary, and new wave, but not punk rock.[17]

See also [ edit ]

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