Pop rok
| Pop rock | |
|---|---|
| Sumber aliran | |
| Sumber kebudayaan | Akhir 1950-an[1] |
| Bentuk turunan | |
| Subgenre | |
| Power pop[2] | |
| Genre campuran (fusion) | |
| Pop punk | |
| Topik lainnya | |
Pop rock adalah musik rock yang lebih banyak menekankan teknik penulisan lagu dan keahlian rekaman profesional, dan kurang menekankan pembawaan.[3][1] Berasal pada akhir 1950-an sebagai sebagai bentuk lain dari rock and roll, pop rock mulanya banyak dipengaruhi ketukan, aransemen, dan gaya asli rock and roll (dan terkadang doo-wop).[1] Genre ini dapat dipandang sebagai genre yang berbeda daripada persilangan pop dan rock.[4] Para pembencinya sering menyebutnya sebagai produk komersial dan kurang autentik dibandingkan musik rock.[5]
Karakteristik dan etimologi
Kebanyakan musik pop dan rock sangat mirip dalam suara, instrumentasi, dan isi lagunya. Istilah "pop rock" dan "power pop" telah digunakan untuk menggambarkan musik yang sukses komersial yang memakai elemen atau ciri-ciri dari musik rock.[6] Penulis Johan Fornas memandang pop rock sebagai "genre tunggal yang berkelanjutan", daripada kategori lainnya.[4] Menurut Larry Starr dan Christopher Waterman, pop rock didefinisikan sebagai "jenis yang paling ceria dari musik rock" yang dapat terlihat dari artis dan grup musik seperti: Andy Kim, the Bells, Paul McCartney, Lighthouse, dan Peter Frampton.[7]
Istilah pop telah digunakan sejak awal abad ke-20 sebagai "musik populer" secara umum, tetapi sejak pertengahan 1950-an digunakan untuk genre yang berbeda, ditujukan untuk pasar remaja, sering dicirikan sebagai bentuk lain yang lebih lunak daripada musik rock.[8][1] Pascainvasi Britania, dari sekitar tahun 1967, istilah ini semakin digunakan untuk melawan rock, untuk menggambarkan bentuk yang lebih komersial, cepat ditinggalkan, dan mudah diakses.[9]
Per 2010-an, istilah "pop rock gitar" dan "indie rock" dianggap sinonim.[10] "Jangle" adalah nomina ajektival yang banyak digunakan kritikus musik untuk merujuk pada pop berbasis gitar dengan suasana hati yang ceria.[11]
Perdebatan
Critic Philip Auslander argues that the distinction between pop and rock is more pronounced in the US than in the UK. He claims 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 song writing by the singers and bands, instrumental virtuosity, and a "real connection with the audience".[12]
Simon 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 over-emphasized 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 terms 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.[13]
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.[14]
Referensi
- ^ a b c d e f g h i "Early Pop/Rock". AllMusic.
- ^ Borack, John M. (2007). Shake Some Action: The Ultimate Power Pop Guide. Not Lame Recordings. hlm. 7. ISBN 0-9797714-0-4.
- ^ "Pop/Rock". AllMusic.
- ^ a b Steven L. Hamelman (2004). But is it Garbage?: On Rock and Trash. University of Georgia Press. hlm. 11. ISBN 978-0-8203-2587-3.
- ^ S. Jones, Pop music and the press (Temple University Press, 2002), p. 109.
- ^ R. Shuker, Popular Music: the Key Concepts (Abingdon: Routledge, 2nd edn., 2005), ISBN 0-415-34770-X, p. 207.
- ^ L. Starr and C. Waterman, American Popular Music (Oxford: Oxford University Press, 2nd ed., 2007), ISBN 0-19-530053-X, archived from the original on 17 February 2011.
- ^ S. Frith, "Pop music" in S. Frith, W. Stray and J. Street, eds, The Cambridge Companion to Pop and Rock (Cambridge: Cambridge University Press, 2001), ISBN 0-521-55660-0, pp. 93–108.
- ^ T. Warner, Pop Music: Technology and Creativity: Trevor Horn and the Digital Revolution (Aldershot: Ashgate, 2003), ISBN 0-7546-3132-X, p. 3.
- ^ Plemenitas, Katja (2014). "The Complexity of Lyrics in Indie Music: The Example of Mumford & Sons". Dalam Kennedy, Victor; Gadpaille, Michelle. Words and Music. Cambridge Scholars Publishing. hlm. 79. ISBN 978-1-4438-6438-1.
- ^ Kamp, David; Daly, Steven (2005). The Rock Snob's Dictionary: An Essential Lexicon Of Rockological Knowledge
. Broadway Books. hlm. 54. ISBN 978-0-7679-1873-2.
- ^ P. Auslander, Liveness: Performance in a Mediatized Culture (London: Taylor & Francis, 1999), ISBN 0415196892.
- ^ B. J. Moore-Gilbert, The Arts in the 1970s: Cultural Closure? (London: Routledge, 1994), ISBN 0-415-09906-4, p. 240.
- ^ Christgau, Robert (1981). "The Decade". Christgau's Record Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN 0899190251. Diakses tanggal April 6, 2019 – via robertchristgau.com.
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