Pop Music Exam Review PDF

POPMUSIC EXAMREVIEW Popmusic CambridgeCompanion pg 93 108 SimonFrith pmusicis eltonJohn at Diana'sfuneral was applaudedforthe skillof a preformanceofgrief 11abouta notforactuallybeingsincere eformance of listenerscouldtakepartinthatpreformance emotions...

POPMUSIC EXAMREVIEW Popmusic CambridgeCompanion pg 93 108 SimonFrith pmusicis eltonJohn at Diana'sfuneral was applaudedforthe skillof a preformanceofgrief 11abouta notforactuallybeingsincere eformance of listenerscouldtakepartinthatpreformance emotions Definitionsofpopmusic alsocanbepreformedbyanyone t requireskillsofjazz gpg accessibletothegeneralpublic notselectivelyfor elites producedcommercially forprofit notart includes combinesall contemporaryformsofmusic instantsinglesbasedmusicaimedat teenagers rockis albumbasedmusic notaninclusivecategory bu 99 8 one doesnotrepresent aspecific cohesivestyle butinstead acatchallforwhatdoesnotfitintootherdefinedcategories Markets designedtoappealtoeveryone exceptionisteen pop Ideology Drivenbyprofitandcommercial reward Givingpeoplewhattheyalreadyknowand want doesnotpushagainstconventions Production Professionallycurated notasauthentic Aesthetics not an artbut a craft notaboutindividualvisions ormaking usseetheworldin new ways instead about popularcliches love loss jealousy yet popmusicstillappealsto individuals theylaytheir personality in a waythatwecanmakeit oursongtoo potency ofcheapmusic History seenasunchanging old music  n i sprgress e s popmusicis designed to beboth familiar andnostalgic peoplesay theydontmake music like that anymore sociological changes popmusicreflectsthechangingnature ofitsaudience migration demographicchange geographical sound barriers maycomefromaspecificplace butabsorbsmusicalsoundsfrom everywhere keymomentsofchange marketingoftheelectricalmicrophone 1930s allowedforvoicestobesofter radioandrecordingstudio ratherthan onstage newvocaltechniques crooning torchsinging therefore newskillsetforsingersavailable newexpressiveintimacy toneandpitchthatcouldonlypreviouslybeheard inprivateconversation listenerscouldpretendtheyknewthesingerSthattheyunderstood theirownfeelings emotionalism anderoticism FrankSinatra'syoungfemalefans createdidolism ofpopmusic stars nomorebigband endof1930s S1940s vocalratherthaninstrumentaltalent producedbymediaandCinema popmusicnow designed toshowthesinger'spersonalityratherthan composer'sskill emotionalexpressivity relatability needed simplermoredirectlyemotionalsongs nomorejazz theatre melodramaticnarratives instead folk country and RSB wittylyricsandsophisticatedmelodiclines newselfconciousness sirony televisionformof pop USandUK19505 emergence of ateenagemarketand taste oneaspect ofthis was rockn roll anotherwasteenpop manufacturedfromrocknroll to allaroundentertainers adultpopconventionsadaptedto ateenmarket Heh idolson TV prettybutknowable theidealboynextdoor  y g e primarilyteenmarket 19505819605 writers producersofteenpopnow youngtoo bettergrasp ofteenagevernacularSemotions treatedthemusicaltracksasrawmaterialratherthan atechnicalprocess blendedAfrican Americanmusicalconventionswithnewmusic RSB doowop nowmovingfrompopsingertopopgroup multivoicesfortellingteenagestories teenemotionswereeverydayconversation anaspect of multitrackrecording newrhythmicandtimbrelcomplexity inthecallresponsestructureofgospelmusic groupsoundhada seductiveleadvoice w achorusofsupporters thesepopsoundswerefedintorock then deemedto betoocommercial astimegoeson rockinfluencespopmorethan theotherway around rise of thepowerballadandthesouldiva theballadwasalsocentraltotheappealofrock usedtheminfamiliarpopwaystobindtheiraudiencesintoanemotionalcommunit derivedfromsoulmusic in apopcontext markedby19705EltonJohn souldiva femalepopsinging 1960s sophisticatednightclubwasoverlaid by gospelsoulandmoreadolescent vulnerability1m elopment popseductiveness haha womensingershavea moreskilled atthenuances ofemotionalexpression createdsomestarswith a gayfollowinginterestedin thepreformance of emotionalexcess sexualappealoffemalepopstars raw feelingofemotionscannowbeaddedtothe mixatanytime doesnotneeda Ldifferentiatesmaleuremalepopstars occasionthen music gospelchoirofwomenputovermachine suchvoicesbringhumanitytotheelectronicworld most's'ohia's aboutlove  Thesentimentalsong popmusic sillylovesongs allsuccessfulpopsongsareaboutromanticlove AmericanPop happy in lovesong frustrated in lovesong noveltysongw sexinterest howeverhistorically pophasnotalwaysbeen aboutlove seamans namer asentimentalson findings inthenineteenthcentury sentimentalaboutfamily rurallife andthepast balladandnoveltysongs notjustaboutlove but alsocountry Irish songsabtmother nowreduced tojustlovesongs Evaluation bythe 1940sthehitparadedidn'taccuratelyreflectpop it ismisleadingtoequatepopw recordsales peatman'sfindingsessentiallyreflectthehitparadethan actualpop implicationsofPeatman'sfindings musichadoncehad aresonance in a varietyofsocialsettings nowfocusedonthenarcissticfeelingsofoneindividual thisindividualismresultsfromchange inmarketing movefromsheetmusicto arecordindustry collective individualism Pop'shistoryismarkedby collective sentimentality wartimesongs migration Irishsongstoremindof home useofsongsforsportsspeculating Karaokephenomenon givennew sentimental lifeto oldsentimentalsongs not just about buyingrecords butpreformingthemin aparticularway singingfromtheheart notthemusicthatmakesuscry buthowwesing it newpromotionalstrategyfor musicals balladsthatcouldbelistenedseparatefromjusttheshow lesslikemusicalsmorelikeelaboratepopshows  Thot thata Songisuse tosell a 9m butthat ithadan accidentalrelationshipto theverymeaningofa film canbedeterminedbyitsclosingsentimentalsong filmandmusicselleachother Popmusicandsociety popmusic themusicwelistentowithoutmeaningto reachesbeyondwhatwelistentoovertheradio weallgrowupinto musicalcultures childrenlullabies nurseryrhymes etc thisitselfisacommercialcategory musicalabsorbtion class place family friendsethnicity andnation popmusicdefinedinthis wayprovides amapof achangingsociety emotionalshapeto ourmemories Twoassumptionsbeingmade 1 origindoesnotmattertothelistener 2 Songsthatwecanbothpreformandlistento TimFlemming collectively weddings pubschool churchmusiccould alsobereferredtoaspop individually w ourbestfriends b4 I lostinnocence yearningforparadise definitionofloveascomfortin distress Wedorespondtothesongitself butalso itissoonmarkedbymemoriesandreferences differentsongsdeemedtobeassociatedw differentthingsglobally Thoughpopmusiccanbeseenasordinary itstillhasa significantimpact onhow we experienceourlives  Plugged In PaulTheberge pages3 25 Cambridgecompanion toPopandRock withoutelectronictechnology modernpopmusicwouldnotexist technology is a mode ofmodernmusicproductionandconsumption notjustatechnicalmeans integral differentusesoftechnologyreflectdifferentaestheticandculturalpriorities Fundamentaltechnologies themicrophone electricalamplification andloudspeakers aesthetics of highfidelity highlightthatthesearereproductivetechnologies theyare by designtransparentin their operation Themicrophone microphonebrought crooning seenasemotionallydishonest techniquespecificallysuitedforthemicrophone notjustsinging microphoneshowseverynuance ofvocal style doesnotdoit in a transparentfashion canflatteravoicein aparticularway canshowevoticnessof avoice multiplemikingemergedinthe1950s selectiveplacementandisolationofinstrumentalsounds ElectricalAmplification 19505 movethan atechnicalnecessity butcrucialtotheevolution ofmusic particularly rock rockwasestablishedasloud synonymouswithvolumeanddistortion whenanamplifierispushedbeyonditsnormallimits createsabrightersound keyvalueofheavymetal amplifiershave adistinctsoundontheirown aesthetic nottechnical add a warmthand abuzztomusic LoudSpeakers 119505 publicvenues danceclubs sportsstadiums physicalphenomenon andculturalvalueof power hiphop rock startedin soundcinema facilitatedthecomingtogetherofevenlargercrowdsof fans Rock phenomenonoffeedback whenmicrophone orguitarisplacedincloseproximitytospeaker novelsoundusedbyJimiHendrix  reggaeusesheavybasssound supportsthemovement ofdancers AfricanAmericanmusicdrawsheavilyon bassfrequencies culturalidentity soundRecording abilitytosplicetogetherdifferent takes of apreformance newqualityandflexibility perfect preformances newsounds echo pop flanging wooshingeffect psychedelicrock greatercontrolandprecision multitrackrecorder acompositionalprocesscentraltothecreationofpopmusic usedinthe1950stoisolateandenhancethesoundofsingers FrankSinatra Overdubbing singlevocalistpreformingmultipleharmonyparts creationof anewpopsound controlandlayeringof sounds multitrackstudio widerangeof technicaldevices flexibleS welldefinedorganisationofmusicallabor multiplemicrophones overdubbing techniquesforseparation signalprocessing andmixing reworking preexistingmaterialtomeettheneedsof differentconsumers profitpotentialofsongstothefullest a particularsound dynamicallycompressedand spatially separated overdubbingvariousinstrumentalsoundslayered combined newmeansofcomposing producer'sjudgementprevailed producerholdsallrights ofreproductioncopyright popartistswantedmorecontroloverthesound oftheirmusic artmode of production recordingartistmakesaestheticdecisions rockmusic1965and1975 led tocreativerelationshipsbtwnproducersandpopartists experimenting w technology artistsinvestedintheirownstudiosto freelyexperiment nohourlyral  demotapes democratisation oftheaudiomarketplace Punkin the1970s musicmoreaccessibletoyoungmusicians digitaltechnology in multitrackrecording theMDI musicalinstrumentdigitalinterface allowsdigitalsynthesisers samplers drummachines andcomputersto be networkedtogether useofmusicsoftware is amaledominatedfield socialinequality w access MusicalInstruments personalexpression audienceconcerns of authenticity acousticto electricguitarwas of concern electricguitar widevariations in sound trulyelectronic in nature eventhemostprimitiveinstruments drums aredrastically impacted by music recording artificiallyenhanced newspacial rhythmicfieldwhichvoices instrument andlistenersare placedinto thoughcontroversial theactual differencebetween acousticandelectricdrum is small thedrummachinedisplaysthatmusicinnovationscan originateinanymarketsector prof vconsumer phonograph turntable as iconicastheguitar in dancemusicatleast DJscratching art of a DJ is based upon consumer knowledge combined w theabilityto sequenceandmixtogether Sonassrhythms started w Jamaicaninspired works in NYhiphopsceneand developed intohousemusicofDetroitandChicago DJ ledtothe adoptionof digitalsamplingtechnology dancefloor in housemusicofthe19805 digitalsampler arecording deviceand aninstrument madestudioproduction more economical themelletron analoguekeyboard had a similareffect crucial to thedevelopmentofhousemusic incorporation a  echolo flightcrisis Minimoog portableanaloguesynthesiser with aside anti a'intention tuition Ahafomusicians 1980stransformeduse of synthesiser more economical Seasier2 use changed the way that musicians were viewed by manufacturers now viewed as consumers of prefabricatedsounds Theintroduction of MIDI stabilisedthesynthesisermarketplace andofferedmore creativity formusicians allowed forelectronically generatedmusic tobecomepartof a completeproduction system fully integrated with conventional soundrecording popmusic now more electronic in nature Consumer audio economics of technologicalinnovation even prof world of music is dependantonsuccessof home computers consumeraudioindustry helpedmusicindustrythrive recordindustrythreatened bytheaccessibility astheydonotcontrol the distribution and consumption of music as much anymore createspotentialforcopyright infringement thatcannotbe controlled ormonitored alsoloweredconsumerloyalty as consumers couldbuyturntables fromindependent companies C cordcompanieshadtoallow forthe ir musicto be availablein thisnewformat were not successful until CDplayer pricesweredropped stoppedproductionof new LPs records yet recordshavealwaysbeenmoreinvestedin byenthusiaststhan CD's cassette tapes hometaping industrialisedwould piracy everywhereelse recordindustry stronglyagainst unauthorised tapingofcopyrighted MIriedto imposelevies on casetterecordersand blanktapes pre recorded casettesoutsold both D's and records oftenoverlooked b c recordindustryissues with taping  4 b s SC U otherwise gainsupport from record industries spread rapidly home cars andportable durabilityandease of use enabled for localpopmusicculturesto thrive uncontrolled by the industry computers and network communications 19905 allowed for massdigitaldistributionofmusic concern for recordindustry MP3 allowed for greaterpiratedmusic majorsitescould beprosecuted but consumers couldnot form oftheft notjust an issueof copyright butalsocreated an entirelynew marketplace therecordindustrywas not a part of hardwareforsound reproduction portabilityof music boombox helped fuel hiphopstreetculture the sonywalkman epitomeof portableplayer 19805 19901 MI 9 audio devices for theplayback of MP3 files estheticssocial took inspirationfrom walkman Practices more sophisticated technologiesformusiclistening the hi fi primary means of listeningtomusicin thehome changedmiddleclass family life the highqualitysoundproductionavailable in homesinfluencedcinemas to get better audio thephonograph recordplayer passive consumption at first Karoake personification of music conclusion distinctionbetween live and recorded music isno longerclear as even live music is entirely dictated mutilated bytechnology technology has disrupted the recordindustry Internet is a potentially lucrative form of marketing sales forthe record industry  a e s e Yoma Business MarkFenste 2 5 38 key terms in popularmusic and culture fansupport generates massamountofcapital approaches popmusicrecordings popmusicaudience createdbythemusicindustry produc recordcompaniescreate standardized commodities whicharethenmass recordingsgenerallysoundthesamebecauserecordcompanies seek to maximize profits bylimiting the costs w innovation cultureindustries artistic expression cultural significance are irrelevant toprofit evaluation whilethere isrepitition acrosssongs orgenres it does not necessarilymean it isdueto standardization by the industry not madein anassemblyline like cars or bars ofsoap aditionally not all CDs and recordsactuallymake money for the companies that producethe m esppopmusic b c styleschange sorapidly only temporarilyprofitable investments in new musicand promotion are expensiveand unpredictable Participation 9h11 the industry cannot predict how audiences will participate w the Éever thandastry ence willignoreor auitproducingmusic focused approach w no profit emphasizes the resistance of individualsand groups totheideologica dominance of the cultureindustries andmainstream culture in general people produce their own meanings forpopmusic through ritual aaaggpgpygppyg.gg pyammmmmmnnm.mn to createmoments of powerful oftenpolitcallysignificantmusic theindustryhasnoeffectonthe artist'screative impulses assume that popular musicis a form ofculturethat can remain eseapproaches untouched by or existindependently from capitalistproduction  my bet C he a p polin I M thatftp.s9hfe9hdoIShhYfures of theindustry foraccessto their audiences consumersdepend toaccess buyingrecords and tickets political economic approach historical development culturalcommodity economics technology government constrainedmusical recordings live Sconsumption recordcompanies majors and independents majors firmswhichoversee controlproduction marketing etcoftheirartists dominatemarketplace ofpop haveincreasedin size andscope byaquiringsmallermusiccompanies F so dat increasinglycontrolledby internationalcorporateconglomerates theseconglomerates are tiedtootherformsof entertainment effects 1 musicproductionwillbeusedtopromoteotherproducts inthecor movies soundtrackalbums 2 increasedabilityto produce distribute andpromoterecordings broughtto easterneurope and asia attempttorecordand distributelocalartists tothenbemarkete throughouttheworld asinternational music commodification of indigenouscultures musiciansbeing categorized by race ethnicity independents commercialfirms thatproduce recorded music and remain independentfromtheproduction distribution and manufacturing oftenforced to choosebtwn 1 sellingformeager profit andlimiteddistribution toretain independe 2 workingw in the structures of major record companies centraltothe music industry in developmentof new artists alternativerock oncethesebandsmadebig takenbymajors representSpackagebandsto specializedaudiences in away that majorswouldnothave theInternet Offerindiescheap efficient instantaneouswaystobypassmajorsby sellingdirectlyto customers LiscensingandPublishing ownership byartistsand publishingfirms ofsong compositions Propithts  majorPmlsic companies sell lease material otherentertainmentcorps songbecomes aninfinitecommodity publishing extremely in crativeb c few significant costs involved majormusic companies ownmusic publishers andrecordlabels conglomeratesrightsover recordings publications exploit theserightsforlicensin merchandise supplements artists mainstreamsofincome crucialto the successof a star majorlabelsmorelikelytosign if theycan sellmerch Broadcastingand Cable radio stations andcableTV areseparatebusinesses fromrecordcompanies canconflictwithradiostations dependon advertisingfor 1 thesize oftheaudience 2 thekind ofaudience broadcasters cabledonotcareaboutthetypesofmusics artists onlyinterested inthoseforms of contentthat can besoldtoadvertisersfor profit audienceis often justtheone w more disposable income many iiiiiiieii.IE ii ni ii emergingartists MTVand UHI similair to radio rely on recordcompaniesforvideosbuthaveindependentchoiceforwhat videostoplay differencesfromradios MTVmoveopento playemergingartists postpunknew wave rap for white audience VHI critical to the emergence of adult alt artists gatekeeping broadcasting controlswhichcontentreachesthe public formatsinradio andTV specificgroupings ofmusicgenres tobrandthemse andappealtospecific audiences audiencetargeting differentformats attractdifferent audienceswhichin turn attract advertisers interested in thosegroups musicvideochannels MTV VHI BETselectvideosbasedon whatthey thinktheir targetaudience wantstowatch  b s s e purposes not Just utaindehfgraphicsforpcohmefrci.at givingaudiences whatthey want butrather deciding whichaudiencesthey want toreach The musicBusiness andthe Web Thewebis usedasaspace topromotethe indie aesthetic rock theweb arewellsuited4 eachotherb c theyoperate under similar notionsof participation independence innovation andcommunity musicrelatedindependentsitesbothsupplement and compete with corporatesites thewebis a new space ofcultural production and receptionwhich offerstheopportunity to commodify an expressive creativeart form andaudienceparticipation  5 Gilbert Robert Histories In keyterms inpopmusicand culture why is elvis still highlyrelevant even afterhis death Elvis wassuch a persuasivepopularpresence onlessobviously relevant parts of culture hardnewstopics fall of communism presidentialelection etc need to address thequestionof how pastevents hadhelped to create a contextwhichthis phenomenon could comeout often people will claimthat themusicindustry intoday'sage is just more extreme in general moregraphicsongs andvideos theproblemwiththisis thedifferencesassumedbtwn thesetimes aresuperficial the samestandard ofoutrageous behaviorcannot beapplied to both timeperiods associetyhasevolved instead must look w in thecontextofthat time throughthistense it is notclear whethereven the most extreme contemporaryartists are astransgressive as elvis was 19505 any form of sexualsuggestionwasunacceptable b c this elvis was revolutionary historyofpopmusic is all about howfacts areinterpreted by individuals elvis racial scandal need to createhistoricalcontexts to fitthequestions stitchingtogether newstoriesout of scrapsfrom old stories which historical facts tochoose how to interpret thosefactsSweavethem together the same story can betold inmultipleways tendency to oversimplifyhistory 1dramatically overemphasizes theroleplayed by broad forces inthemaking of history ima 2 grants too much creditforhistoricalchangeto great Theinevitable result ofsocial economic and rock n roll was culturalforces beforehand iftherewasnoelvis.someoneelsewouldnavedonei.tt  pelvisas a greatvisionarywho recognizedwhat was wrong w Usculture and set out to changeit bothapproaches make untenable claims thatignorethe insights of the other elvisshaped rock n roll w uniquetalents must recognizethat historical changeis the byproduct of unique individual achievements in the context ofsocial cultural economic andpoliticalcircumstances historynever looksas heat or predictablewhileit is happeningas it does after thefact at the time there wasnothinginevitableabout elvis career  SUMMARY 1 Simon Frith's view Popmusicisabout thepreformanceof anemotionthat listenerscantake Part in 11 to John Producedfor profit not art Designed to appeal to everyone Doesnot pushagainst conventions popular cliches lovelose jealousy keymomentsofchange microphone allowedcrooning moreexpressive intimacy eroticism felt morepersonal 19301 1940s showingsinger's personality more directlyemotionalsongs a imviii teenidols ideal boynextdoor blendedAfrican Americanmusic rise of ballad derived fromsoulmusic rise of soul diva femalepopsinging sexualappeal nuancesofemotional expression raw emotions do not need an occasion pqpppauneguaysumeenaonne.nu now renren.im evaluation Peatman just reflects thehit parade notactualpop MP MY Yeahhhh ha It flelika's oft individual pop is about collective sentimentality  Holla fulfill myjhl.sifphfe also aitted w it Theberge'sview technology is integral tomodernpop themicrophone eroticismof a voice can flattervoice new singingstyles electricalamplification particularlyimportantfor rock loudsdistorted pushbeyond itslimits togeta particularsound loud speakers publicvenues largercrowds in soundcinema phenomenonof feedback heavybass AfricanAmericanmusic soundrecording perfect preformance multitrackrecording overdubbing variousinstrumentslayered isolate enhance singers FrankSinatra reworkingpre existingmaterial new relationships btwnpopstars producers Whohadcontrol overthesound art mode homestudiomarket youngmusicians demotapes musical instruments electricguitar controversial VMfficiallyenhanced phonograph turntable DJ birth of housemusic inspired byJamaican music digitalsampler  Studio production moreeconomical diversesources easilycompiled Minimoog portable analoguesynthesiser musicians now viewed as consumers of pre existing sounds popmusicnow moreelectric in nature Consumer audio homecomputershelpedmusicindustry thrive C Stopped production of new LPs cassettetapes hometaping copyrightissues recordindustryhad bigissue w this outsoldCDs and LPs overlooked b c recordcompanyissues w taping usedto distributemusicthatwouldnot otherwisegetsupport from record company localpop computers digital distribution of music copyright new marketplace hardware 4 soundreproduction boom box hiphop Sony walkman hi fi in the home Karoake personificationof music conclusion evenlivemusic dictated by technology FensterSSwiss view popmusicrecordings popmusicaudience created bymusicindust culture industries irrelevant to profit maximize profits limit cost w innovation all sound thesame assembly line evaluation though there is repition this is not due to standard w in the industry ization