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The differences between what people tend to call "popular" and "classical" music has boggled me for some time. Thus, I postulate certain simple criteria with which to easily identify if the music is either of the two.
Popular music: - Is used to describe the music produced during the "popular music phenomenon" of early 20th C. America (Tin Pan Alley) of recording short songs to be commercially distributed on a large scale. Today's popular music, thus, descends from this commercial tradition.
Classical music: - Refers to any body of music (not even just Western) that has a long, generally systematized (there are long-established theories/rules, etc.) tradition of music. Practitioners generally undergo some sort of systematic training that is common to most performers of classical music.
In this sense, we can justify the reason why North Indian ragas fall under the term "Indian classical music", even if it does not primarily use notation or descend from the Western tradition. This is because performers of this type of music also undergo systematic training under a long tradition with long-established conventions/theories, as opposed to the relatively newer phenomenon of popular music.
Conclusion:
We have to be very clear, thus, that the term "popular music" is thought of as that tradition of commercially-distributed, recorded music that began during the early 20th C. Music that enjoyed wide appeal prior to this - Wagner or Mozart's operas, for instance - cannot be considered "popular music" because, clearly, they do not descend from that recorded music tradition.
So, just because a music is popular, does not mean it is "popular music", in this sense.
I might be a little out of words here, but I think this is easy to understand. — Preceding unsigned comment added by Lonious ( talk • contribs) 13:42, 18 September 2018 (UTC)
It's pure rubbish to assert that the musical generation gap has widened since WWII. It's been narrowing since about 1980, not widening. It's not unusual for young people today to raid their parents' music collections. The musical ideas of rock and roll's first decades still have a good deal of currency in today's rock music. What we have today, in terms of a generation gap, is nothing compared to the 1960s and 1970s when, I can tell you, we were not seeking out our parents' Frank Sinatra, Lawrence Welk, and Patti Page records. Pithecanthropus ( talk) 04:02, 19 October 2009 (UTC)
Boring, uninspired, somewhat elitist article that doesnt even give a basic definition of "popular" music. Most notable is a narrow-minded and oh-so persistent "distinction" between classical and popular music. Thus, according to article, Tool, PJ Harvey or Radiohead are "profit" driven popular music. Fine. And Schenker's analysis of "depth" are yet another sad reminder of obssolete and long forgotten western "classical" narcissism. —Preceding unsigned comment added by 89.146.160.148 ( talk) 08:39, 23 November 2007 (UTC)
I agree! The article suggests that every rock/hiphop/metal etc. song has a simple structure; this is not true for many genres including progressive rock/metal, idm, ambient and post-rock. Also, does grindcore appeal to a larger audience? I doubt that... — Preceding unsigned comment added by 84.56.0.108 ( talk) 00:36, 5 July 2011 (UTC)
Boring, uninspired, somewhat elitist article that doesnt even give a basic definition of "popular" music. Most notable is a narrow-minded and oh-so persistent "distinction" between classical and popular music. Thus, according to article, Tool, PJ Harvey or Radiohead (as witnessed by their latest album) are "profit" driven popular music. Fine. And Schenker's analyses of "depth" are yet another sad reminder of obsolete and long forgotten western "classical" narcissism. —Preceding unsigned comment added by Vsb ( talk • contribs) 08:48, 23 November 2007 (UTC)
Completely agree!!! I tried to add a little neutrality, and my comment was deleted because it wasn't cited... Like ANYTHING in this article is cited. —Preceding unsigned comment added by 68.57.127.82 ( talk) 04:52, 24 January 2008 (UTC)
It is good that this page does not quote hundreds of musicians - often a weakness of writing on popular music. nevertheless I think it is very simplistic. A large amount of profit is made out of classical music, often by the same record companies who sell popular music. Folk music was not "transmitted exclusively" orally, as recent studies have shown. The authenticity is oversimplified.
Many other forms of art have made lots of money. Would we claim that Picasso's work was no longer of much artistic value once he became rich - this would be difficult to claim. Many great artists and composers of the 16th to 18th centuries for example had to please their rich customers; often this affected adversely the quality of their work, but often it didn't. The fact that companies can make a lot of money doesn't always have the same effect.
there is however a tension between moneymaking (and therefore let's not take risks, let's try to sell what sold last year) and a need to rebel, taken up by each new generation in a different way (jazz, skiffle, folk, rock, punk, rave, rap etc)
The other difficulty is that popular music is a mass activity. for every band that makes money there are a thousand that don't, and half of them don't care.
JM
Nice page but it is off point in drawing the dichotomy between pop and other styles as being based on being performed for enjoyment. It is plainly obvious that numerous pop artists performed for enjoyment and at times were even part of the non pop genres before being discovered. I understand the point that is being attempted but it would be more accurate to work in the following facts: *Pop music can be of virtually any genre.
These are just a few suggestions and my main beef with the page is that it seems to at times present the pop artist as being a tool of the industry execs when it could actually be the other way around, such as in Rage Against the Machines decision to enter pop culture with the intention of spreading decidedly non-pop messages.
I appreciate the clarity that is created by the sections Popular_music#Genres and Popular_music#Genres_that_are_not_popular_music, but the actual situation is more complex, with some genres being considered a part of popular music by different writers at different times, and othertimes not. For example, some theories describe folk music as a large genre within popular music, some theories distinguish popular music from classical in that it is a part of folk music. Hyacinth 19:10, 3 Dec 2004 (UTC)
Musical genres usually considered not to be popular music include:
As noted earlier, these have a distinct character from popular music: either they are transmitted by word of mouth rather than in organized fashion (children's songs, authentic folk music) or else they are produced to fill the needs of a particular social institution (church, aristocracy, the military, or the state). Note that music pieces of each of these genres can become part of the popular music either in their pure form (like various gregorian compilation CD's) or as remixes (like Moby's Play).
I agree with some of the objections raised in this section. This article is written in a tone and manner that makes it seem like popular music vs. art music vs. traditional music is a very clear-cut distinction. It is in some cases, but in others it's not. For example, what is Hip hop music? There is popular hip-hop but there's a lot of it that arguably spills over into both of the other two categories. What about bluegrass? It could be called traditional music, but it could also be popular music...it might depend on the artist, or the way it's performed, etc. I think that this article needs to communicate these nuances--to not do so is to create a horrible bias, a very bad sort of POV. Cazort ( talk) 03:26, 19 November 2007 (UTC)
Should the following pages:
be changed to "List of pop performers" and "list of rock and roll performers"? For that matter, I'm not sure how we should distinguish between the two. At any rate, I think they should be moved out from subpages. Tarquin, Wednesday, June 19, 2002
User 152.163.253.100 raises the important point of when popular music began. The date of the 1950's cannot be correct, since it leave out big bands (1930-40's), ragtime (ca. 1900), parlor music like "Listen to the Mockingbird" (1855), and perhaps earlier stuff I'm not aware of.
I'd suggest that each genre, in its own article, be given a date of origin; we can't really generalize at this level except to identify the earliest popular music of any kind. Opus33 15:19, 21 Jul 2004 (UTC)
Well, popular music has emerged in the second half of the 19th century, so we have to write about cabaret, tin pan alley, music hall, circus, minstrel shows and all that, including sheet music sales, invention of gramophones and much more. That's definitely a complex task and requires much work and possibly reorganization of entire article. So it's better not to write anything about history at all.
I did not find a listing for Rockabilly music. This is a style of music that is still alive and well, and has been a great influnce on many artist and writers. George from the Beatles was a big fan of Carl Perkins.
Robert
Pop music is amazing.
This is not to say that popular music is definitively or always simpler than classical. The "default length" of phrases which classical music supposedly deviates from were set as the default by music of the common practice period. Jazz, rap and many forms of technical metal, for instance, make use of rhythms more complex than would appear in the average common practice work, and popular music sometimes uses certain complex chords that would be quite unusual in a common practice piece. Popular music also uses certain features of rhythm and pitch inflection not analyzable by the traditional methods applied to common practice music.
Are there any sources for such a claim? I certainly don't see anything backing it up.
Was thinking the same thing. I think the entire section should be rewritten and/or not compare popular music to classical music. The whole thing sounds like defending popular music rather than objectively comparing or providing insight into either. Also what is "average common practice work"? Technical metal? etc. 84.58.183.29 12:20, 12 January 2007 (UTC)
this site rocks but it needs pics ofgood rock bands
This section does not add anything to the article. The list is subjective and does not even contain albums generally considered to be the best or most important in the history of popular music. I propose that this section be deleted.
I removed:
from:
as it is a reply and would first need to show that Blink 182 etc started out trying to be "indie" and ended up mainstream. Hyacinth 10:35, 7 April 2006 (UTC)
I didnt get a good look at the entire list of genres, but that is what ive noticed. Has anyone else noticed oddities like this? - Psydude 15:58, 23 May 2006 (UTC)
Could someone with comprehensive knowledge about this sort of thing please look at the section about Axel F? I think this needs serious attention. Why is this track considered "classical" and "crossover" in any way? The sentence about it starting off being very popular is a bit inane. At the very least I think we need more information if these sort of claims are going to be made.
That whole bit is nonsense - I'm going to remove it (hope no-one minds?) Hopsyturvy 13:23, 22 August 2006 (UTC)
The revisions from August 28 2006, by 203.99.195.4, added that the contemporary music business was "founded by Ranjith," and then added the title "---the great" and gave some lifetime dates of "98842-65108 or 98405-28236." I have deleted these. Mkilly 15:47, 6 September 2006 (UTC)
The article includes a few thinly-supported negative descriptions of minimalism. It is true that composers such as Steve Reich were inspired by folk and popular music, but Reich would note that Bartok and Stravinsky were as well. The immitation of repetitive rhythmic and harmonic devices found in American rock, African and Indian traditional music, etc., was a very conscious and deliberate creative decision on the part of "minimalist" composers and largely a response to the hyper-density and complexity of 1950s serialism. On a side note, it would seem to make sense that some reference be made to the written tradition of classical music as opposed to the aural transmission of folk and popular music.
This paragraph should be removed for two reasons. First, a value judgement on the relative merits of classical and pop music is inappropriate for an encyclopedia. Second, it is factually incorrect. The statement "popular music sometimes uses certain complex chords that would be quite unusual in a common practice piece" is simply incorrect. To suggest that any popular music is more harmonically complex than Wagner is frankly ridiculous. "Jazz, rap and many forms of technical metal rhythms more complex than would appear in the average common practice work" - Mussorgsky's "promenade" from "pictures at an exhibition" features alternating bar lengths of 5 and 6. Mozart's "Don Giovanni" has a section in which the orchestra is split into three parts, each playing in a different time signature. This comment has been posted without any citations or references in its support. Does anyone object to its removal?
"This is not to say that popular music is definitively or always simpler than classical. The "default length" of phrases which classical music supposedly deviates from were set as the default by music of the common practice period. Jazz, rap and many forms of technical metal, for instance, make use of rhythms more complex than would appear in the average common practice work, and popular music sometimes uses certain complex chords that would be quite unusual in a common practice piece. Popular music also uses certain features of rhythm and pitch inflection not analysable by the traditional methods applied to common practice music."
This should be deleted for the following reasons.
-No sources are supplied in support of any of the statements.
-It is factually inaccurate.
-A discussion of the relative merits of classical music and pop music doesn't belong in an encyclopedia.
This paragraph is the kind of thing which gives wikipedia a bad name. I am deleting it.
No, it ISN'T factually inaccurate - you've just yet to hear any "popular" music (a total misnomer of a term - how are genres like IDM, avant-garde, experimental, and drone produced for 'commercial purposes' - that's right, they AREN'T!) that reaches that echelon of complexity. I'd advise looking beyond the radio. Elitism won't get you anywhere. Classical, baroque, romanticism, etc. are all just genres - they are in no way superior to genres such as technical death metal, drone, krautrock, progressive rock, avant-metal, etc etc... blah blah blah. In an ideal world there would be no conceited academic terms demarcating some fictive 'line' between these two 'realms' of music, but apparently people get a real kick of claiming 'popular' music is 'simplistic'. Whatever... maybe if all you've ever heard is The Beatles and Led Zeppelin... *yawn*... do the knowledge, then you'll be qualified to comment. Blah blah blah comment comment comment remark etc
121.223.196.153 (
talk) 08:52, 21 January 2011 (UTC)
But Classical music is inherently more wide-ranging and complex than Popular music in general, simply because the term refers to the entire Western tradition of music which spans hundreds of years. Obviously it would include a lot more devices than in the more recent phenomenon of Popular music. And while complexity does feature in Popular music, Classical is generally more complex (not on specific terms, but if you look at the general characteristics of each category, Classical features far more genres, far longer duration, and more extensive use of unusual melodic and rhythmic devices). Also, your "avant-garde" and "experimental" references are too specific examples to represent the general characteristics of "Popular music". Lonious ( talk) 02:54, 12 August 2018 (UTC)
Both the template and the infobox don't belong here, this article doesn't overlap the pop music one. Doktor Who 22:04, 24 August 2007 (UTC)
Is jazz different from both of these? I'd just like some opinions-- h i s s p a c e r e s e a r c h 23:17, 28 December 2007 (UTC)
Yes, Jazz is rooted in Popular music. Generally speaking, it is not "Classical" because it is not traditionally performed from sheet music, so that alone already invalidates it as a Classical music genre. Lonious ( talk) 02:57, 12 August 2018 (UTC)
This section is terrible. First of all, it claims that popular music is 'simple.' Progressive rock musicians would disagree with you. In fact, this entire article seems to be claiming that all non-classical music is throwaway commercial products with no artistic value. This is an insult to the vast repertoire of non-classical musicians who try to express themselves. Zazaban ( talk) 01:50, 24 April 2008 (UTC)
I realize house music would fit under the category of "popular music" by the indicated meaning in the article, but is it really a good idea to mention it in the first picture in the article? House music is a very underground type of music as are most electronic genres, and I think it would be more fitting to show a genre of music that is actually, to the alternative meaning of the word, popular, such as rock or "pop" music. —Preceding unsigned comment added by Kobb ( talk • contribs) 23:33, 2 May 2008 (UTC)
Since this article has no information about popular songs, per se, just the genre of popular music. I would like to redirect Popular Song to Song#Popular, and then expand that section to actually discuss what a popular song is. ---- CharlesGillingham ( talk) 20:43, 4 August 2008 (UTC)
I've never heard anybody use "Popular Music" as a pronoun. I've heard of "Pop Music", but there is another article with that name. The authors of this article are having a difficult time defining "Popular Music" because it is not a valid entity. It's just a phrase; it's not the title of anything. It would be like having an article for "Fast Boat" or "Tall Building". I think the confusion comes from the literal translation from other languages. The French call it "Musique Populaire", but it's the same as our "Pop Music". This article should be culled for any good information, combined with "Pop Music", and redirected. Although, I don't want to take an American centric stance. If more English speaking cultures around the world call it Popular Music than call it Pop Music, then do the same thing, but redirect Pop Music here. Noit ( talk) 00:47, 8 August 2008 (UTC)
I know this is about 10 years old, but I would like to posit that there seems to me just a few problems with Mr. Duhautpas' statements. Let me summarize:
Art music notion is concerned with written tradition and advanced structural, aesthetic and theoretical considerations....it’s about focussing on compositional advanced techniques and certain aesthetic considerations....(a)rt music is more exigent in terms of compositional techniques and theories. (Art music uses advanced structures, aesthetical notions, and theory)
--> Does this mean that any "complex" piece of music is "art music"? What about all the extremely simple music those Renaissance and Classical-era composers wrote down? They used simple ABA forms. There is nothing "advanced" about these, as far as musical theory goes. Same goes with a simple Chopin prelude, such as the Op. 28 no. 7 in A major. That piece has like just two parts.
--> I'm not saying your statement is wrong...I just want to clarify what it truly means. By your statement, we cannot consider a simple Elizabethan song, the countless simple songs or church hymns by well-known classical composers such as Cherubini, or a Chopin prelude "art music".
Any classical music from any culture is considered as art music. (Classical music is art music)
--> You just stated that art music is about advanced structure and theory. And here, you say that any classical music is automatically art music. How about all those simple classical pieces that have extremely simple form? You wouldn't be able to call these "art music", since, by the definitions that have been brought up, art music is, by nature, "advanced".
--> To contrast to this, you have popular music by Benny Goodman that is far more complex than a simple church hymn by Cherubini, etc.
Yes in contrast, popular music is freer and more instinctive in terms of composition. It doesn’t rely extensively on theories and compositional exigencies (complex techniques strict academic counterpoint or Fugue for example). (Popular music is freer and more instinctive, and doesn't use complex compositional techniques)
--> "Freer" and "more instinctive" are subjective terms and I don't know how to make this idea definable. However, I will take this at face value. But what about Baroque pop? Or any improvisation at all by Art Tatum, which is far more complex than most "art" piano pieces?
Again, I am not saying your statements are incorrect...I just want to clear up on what exactly are the definitions of "art music". Best of regards! Lonious ( talk) 14:07, 18 September 2018 (UTC)
the article that's supposed to be about the genre called pop music currently includes a lot of material that's actually about popular music in general, so i'm transferring it here in case someone wants to work it into this article. the first delivery, with reflist, is below. hope it's helpful ... Sssoul ( talk) 06:54, 23 December 2008 (UTC)
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In Britain, however, 20-plus years after the end of WWII, they didn't even have Top 40. Music broadcast was limited to the BBC and for only part of the day. The BBC's lack of music programming was the result of what was called needle time, which prevented the playing of records over the air for more than a set length of time per day. Needle time, it was thought, would keep the unionized musicians employed, while the record companies believed it would prevent the loss of record sales due to the ability to listen for free over the airwaves.
The BBC also had to play a certain amount of live music, according to the Musicians' Union, to ensure that performing musicians could make a living. This was called the 'Needle Time' restriction.
The examples and perspective in this article deal primarily with the United States and do not represent a
worldwide view of the subject. (August 2019) |
In contrast to genres with clear origins and a traceable evolution, pop developed, and continues to expand, as a haphazard merging of styles. Pop is an amalgam of successive fashions, of elements of many differing styles that have been successful over the years and have ended up incorporated into the genre. This section introduces the most significant tunes of each decade, and shows the progression of pop to its current form. Because performers of all varieties have released tracks that can be classified as pop, this article analyses songs, and does not list names of acts, bands, musicians or singers. For these please see the List of artists who reached number one on the Hot 100 (U.S.), List of artists who reached number one on the UK Singles Chart and List of artists by total number of U.S. number-one singles.
At the start of the 1950s songs in the pop genre were crossover styles from the standard formats of the day. In country music, instrumental soloing was de-emphasised and more prominent vocals added, commonly backed by a string section and vocal chorus, as exemplified in " (How Much Is) That Doggie In The Window", which became a hit in both the US and the UK in 1953. Two years later American folk music entered the pop spectrum with a modern version of a traditional tune, " The Yellow Rose of Texas" (1955).
Vocal performers of the great American songbook classics, crooners and big band singers, incorporated elements of other styles and orchestral enhancements to their repertoire, giving them greater formal complexity than their traditional antecedents. The Marc Blitzstein arrangement of " Mack the Knife" is an emblematic example, topping the charts on both sides of the Atlantic in 1954, as did " Singing the Blues" in late 1956 and early 1957.
This was also the decade of the advent of rock and roll, a massively influential genre that spawned innumerable changes in the social and cultural fabric of the US and the world. The convulsion began when " Rock Around the Clock" crowned the charts in the spring and summer of 1955, and continued with " Heartbreak Hotel", All Shook Up and " Tutti Frutti"
Previously regional or niche formats became mainstream for the first time, some going on to become genres in their own right. Latin music entered the general consciousness with " Cherry Pink (and Apple Blossom White)" in 1955, and Italian popular music with " Nel blu dipinto di blu" in 1958.
In Europe, pop music was to show its increasing popularity with the arrival of the Eurovision Song Contest in 1956. This competition would span the continent and continue on for the next five decades. The main idea behind the show, which was televised throughout Europe (and other parts of the world), was to unite the various nations through popular music. Many successful songs emerged from the contest over the years, but few were significant outside of Europe.
The decade kicked off a style that is still recorded today, the novelty song, combining humorous or parodic lyrics and simple, catchy melodies: " Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini" (1960). In 1961 a new format arose around close vocal harmonies and lyrics reflecting the Californian relationship with surfing, girls and cars: Surf pop. This very successful style is epitomised by tunes like " Surfin' USA" (1963), " California Girls" (1965) and " Good Vibrations" (1966). An unusual combination of minor chords and an unexpected synthesizer formed the basis of one of the greatest hits of the first half of the decade, " Runaway" (1961), whilst in the second half a four-note electric bass riff offsetting a simple melodic arrangement brought commercial and critical success to " Windy" (1967).
The music that had radiated from the US to the rest of the World in the previous decade bounced back in this one, bringing with it nuances, variations and completely new styles. In the United Kingdom teens developed a feel for rock and roll and the blues, blending them with local traditions like skiffle and giving rise to music they could relate to and perform with conviction. Youths with electric guitars began joining beat bands and writing and playing up-tempo melodic pop. Some of these enjoyed success only in Europe (" Apache" (1960), " The Young Ones" (1962), " Keep On Running" (1965) and " Where Do You Go To (My Lovely)" (1969)), as others crossed the Atlantic and became the British invasion (1964 to 1967), delivering a whole new range of influences to US pop with songs like " I Want to Hold Your Hand", " Can't Buy Me Love" and " Downtown" (all 1964), " Yesterday" (1965), " Yellow Submarine" (1966), " To Sir, with Love" (1967), " Hey Jude" (1968) and " Get Back" (1969).
African American music broke into popular culture in a big way in this decade, bringing with it new grooves and tempos, such as doo-wop, a style giving prevalence to melody-dominated homophony and vocal-based harmonies; rhythm and blues, a combination of jazz, gospel and blues; Motown, soul music with a prominent and melodic bass line, a distinctive chord structure and a call-and-response singing style:
"
I Can't Stop Loving You" (1962) " He's So Fine" (1963) " Hello Dolly!" (1964) " Baby Love" (1964) |
"
Reach Out I'll Be There" (1966) " Respect" (1968) " (Sittin' on) the Dock of the Bay" (1968) " I Can't Get Next to You" (1969) |
In 1965 Raybert Productions set out to create a pop band from scratch, selecting the members by their looks, dancing ability and appeal to different personalities of fan, rather than musical prowess. The company controlled every aspect of the group, from choice of music to individual behaviours, and guided them to extraordinary success in music, television and cinema. This type of prefabricated band was termed manufactured pop and is the precursor of boy bands and girl groups. The hit " I'm a Believer" (1967) was soon followed by a number one from another manufactured group, " Sugar, Sugar" in 1969. Many new and different styles of popular music developed during the 1960s, in the aftermath of rock & roll - see the article on Popular music.
In the mid- 1960s Sonny & Cher's smash hit single " I Got You Babe" became a defining recording of the early hippie countercultural movement and it helped them to become pop icons. A year later Cher, as a solo artist, released one of the most famous pop song ever recorded: " Bang Bang (My Baby Shot Me Down)".
Singer-songwriters and other folk-based artists were the biggest contributors to the pop genre in the first half of this decade, from 1970's " Bridge over Troubled Water" and " (They Long to Be) Close to You"(although this was not actually a singer-songwriter effort, but a was written by one of the last remnants of the Tin-Pan-Alley/Brill Building days, Burt Bacharach and Hal David), through 1971's " It's Too Late", to 1972's " American Pie", " Alone Again (Naturally)" and " Without You".
The main influence in the second half of the decade came from disco, a dance-oriented style with soaring, reverberated vocals, a steady beat and prominent, syncopated electric bass lines: " Disco Lady" and " Play That Funky Music" (both 1976), " I Just Want to Be Your Everything" (1977), " Night Fever" and " Stayin' Alive" (both 1978), " Bad Girls", " Le Freak", " Take Me Home" and " YMCA" (all 1979).
Country music re-entered pop in 1973 with " Tie a Yellow Ribbon Round the Ole Oak Tree" and in 1975 with " Rhinestone Cowboy", whilst the African American rhythms that had so affected the genre in the previous decade were still producing hits and expanding limits in this one. Disco, an almost entirely African American creation, was joined in the charts by protest songs (" War" (1970)), soulful ballads (" The First Time Ever I Saw Your Face" (1972), " Killing Me Softly with His Song" and " Let's Get It On" (both 1973)), and by more upbeat compositions (" Best of My Love" (1977)).
Sounds from the UK continued to permeate pop music, with pop rock songs like " Maggie May" (1971), " Da Ya Think I'm Sexy?" (1978) and " My Sharona" (1979); blues-based tunes in the style of " In the Summertime" (1970); and simple pop ditties such as " Save Your Kisses for Me", " Don't Go Breaking My Heart" and " Silly Love Songs" (all 1976).
In the early 1970s Cher released other pop hit-singles: " Gypsys, Tramps & Thieves", " Half-Breed" and " Dark Lady" that established her status as a pop icon. Diana Ross released " Ain't No Mountain High Enough", " Touch Me In The Morning", " Do You Know Where You're Going To", and " Love Hangover". These for releases helped make her the most successful female singer of the 1970s.
In the same way that Britain contributed to the genre since the 1960s, pop artists started appearing in other nations in the 1970s, some with surprising longevity and significance.
Special mention must go to Sweden for ABBA who took over the music world with songs like " Waterloo" (1974), " Fernando" (1976), " Take a Chance on Me" (1978), " Dancing Queen", " The Name Of The Game" and to Boney M for the hits " Daddy Cool" (1976), " Ma Baker" (1977) and " Rivers of Babylon" (1978).
Many popular songs came from female artists. A few of the most significant are " Hold On", " Nothing Compares 2 U" and " Vogue" (all 1990), " Rush Rush" (1991), " Save the Best for Last" (1992), " The Power of Love" and " Hero" (both 1993), " Creep" (1994), " Waterfalls" (1995), " Wannabe" " Always Be My Baby" and " Un-Break My Heart" (all 1996), " You Were Meant for Me" (late 1996 and early 1997), " How Do I Live" (1997), " Ray of Light" and " Believe" (both 1998), and " If You Had My Love", " ...Baby One More Time", " Have You Ever? and " Waiting For Tonight" (all in 1999).
Following-up on the positive results of the eighties, the music and film industries continued to benefit each other in this decade, including pop songs in movie soundtracks and releasing them as singles. Defining hits of the genre include " The Shoop Shoop Song" from 1990's Mermaids; " It Must Have Been Love" from 1990's Pretty Woman; " I Wanna Sex You Up" from New Jack City and " (Everything I Do) I Do It for You" from Robin Hood: Prince of Thieves (both 1991); " End of the Road" from Boomerang and " I Will Always Love You" from The Bodyguard (both 1992); " Can't Help Falling in Love" from 1993's Sliver; " Gangsta's Paradise" from Dangerous Minds, " Kiss from a Rose" from Batman Forever (both 1995), " Because You Loved Me" from Up Close & Personal (1996), and " My Heart Will Go On" from Titanic (1997).
Grunge and alternative music also pushed the boundaries of pop music in the 1990s. Most notably, Nirvana's song "Smells Like Teen Spirit" highlighted a mix of loud, garage band style punk rock ethic and catchy, pop music hooks and melodies that made a huge slash in the mainstream.
Dance music broke out of a specialised section of the market into pop in this decade, with hits such as " Gonna Make You Sweat (Everybody Dance Now)" (1991) and " The Sign" (1993). Simultaneously, African American influences continued with traditional pop and hip hop-inspired tunes. Indicative examples of the first are " Black or White" (1991) and " You Are Not Alone" (1995), notable instances of the second being " Baby Got Back" and " Jump" (both 1992), " On Bended Knee" and " I'll Make Love to You" (both 1994), and " I'll Be Missing You" and " Can't Nobody Hold Me Down" (both 1997).
Pop became truly international in the nineties, with hits coming from diverse and distant locations:
In a similar vein to the previous decade, female singers had a big influence on the pop genre in the 2000s, with soulful ballads, hip hop pieces and dance tracks: " Music", " Genie in a Bottle", " Oops!... I Did It Again" (both 2000); " What a Girl Wants", " Fallin'"," Love Don't Cost a Thing", " All for You" and " Can't Get You out of My Head" (all 2001); " Foolish", " Dirrty" , " What about Us?" (2002); " Crazy in Love" and " White Flag" (both 2003); " Beautiful", " If I Ain't Got You", " Toxic", Left Outside Alone, and " 1, 2 Step" (all 2004); " Hung Up", " We Belong Together", " Hollaback Girl" and " Since U Been Gone" (all 2005); " Girlfriend", " Bleeding Love", " Gimme More", " Piece of Me"," With Love", " Ain't No Other Man", " Umbrella", and " Say It Right" (all 2007); , " Disturbia"," Womanizer", and " Circus" (all 2008).
Traditional rock and pop rock made forays into pop with consecrated artists and newcomers both introducing songs to the genre: " Smooth", " Maria Maria" and " It's My Life" (all 2000), " Drops of Jupiter (Tell Me)" and " Stuck in a Moment You Can't Get Out Of" (both 2001), " This Love" (2003), and " Boulevard of Broken Dreams" (2005), " Burnin' Up (2008)." Entirely digital productions integrated new technology and sounds, and as electronic dance music entered the mainstream, pop artists started using producers and remixers who contributed their styles to the genre: " Feel Good Inc." (2005) and " Crazy" (2006) are good examples.
Once more, African Americans contributed heartily to pop with diverse styles. Some hits were hip hop-based, such as " I'm Real" and " Dilemma" (2001 and 2002 respectively), " In da Club" and " Ignition" (both 2003), " Yeah!" (2004), " Candy Shop" and " Don't Phunk with My Heart" (both 2005). Other chart-toppers were variations on reggae beats (" It Wasn't Me" (2000) and " Get Busy" (2003)) or more traditional rap compositions (" The Way You Move" (2003)).
The international appeal of pop was evident in the new millennium, with artists from around the world influencing the genre and local variants merging with the mainstream. Latin pop was successful with songs from Spain, " Hero" (late 2001/early 2002), " The Ketchup Song" (2002); and Colombia, " Whenever, Wherever" (2002) and " Hips Don't Lie" (2006). Russia made its breakthrough to the international charts with " All the Things She Said" (2002) which even topped the UK Singles Chart, while Moldavia hit the European charts with " Dragostea din Tei" (2003) and Romania with " Kylie" (2006).
maybe there should be a critism section although it may compromise the neutrality of the article. — Preceding unsigned comment added by 173.24.167.213 ( talk) 18:11, 24 March 2012 (UTC)
same subject, significant overlap. Popular music IS pop music, completely illogical to have two articles when a combination of the two in a single entry would make for a more informative overview. Semitransgenic talk. 09:28, 27 March 2012 (UTC)
“ | Journal of Popular Music Studies features work on popular music in its historical, cultural, aesthetic, and political registers. Its purview encompasses all genres of music that have been dubbed popular. The journal is also concerned with such issues as popular music’s intersections with other arts, its relationships with old and new media, and its status as a field of research and critical writing. | ” |
“ | founded in 1971, publishes articles, book reviews, and audio reviews on popular music of any genre, time period, or geographic location. Popular Music and Society is open to all scholarly orientations toward popular music, including (but not limited to) historical, theoretical, critical,
sociological, and cultural approaches. |
” |
In Classification as Culture: Types and Trajectories of Music Genres (Lena and Peterson 2008:697-718) we read: "
“ | Not all commercial music can be properly considered a genre in our sense of the term. We consider music crafted for specific types of venues or referred to as commercial categories to be non-genred music. Examples include Tin Pan Alley, Broadway show tunes, and commercial music crafted for a specific demographic and designated by a commercial category (e.g., middle of the road [MOR], music for lovers, dance music, and easy listening music).
Much the same argument holds for pop and teen music. At its core, pop music is music found in Billboard magazine's Hot 100 Singles chart. Songs intended for the pop music market usually have their distinguishing genre characteristics purposely obscured or muted in the interest of gaining wider appeal (Weisbard 2008). Artists making such music may think of their performances in terms of genre, but the organizations that assist them in reaching the chart most certainly do not. As a case in point, artist development expert Lou Pearlman played a vital role in creating the "boy band" sensation of the late 1990s (e.g., Backstreet Boys, O Town, and 'N Sync) by putting together per formers who answered casting calls. Such star-making is a fascinating and under researched topic but beyond our focus here. That said, genre music can transform into pop music, and consequently the pop charts are a mix of "pure" pop (i.e., a succession of hits that are marginally different) and songs derived from genres that are popular at the moment, such as rap or punk. Thus, pop is considered a chart, a way of doing business, or a target demographic, but not a genre (Anand and Peterson 2000; but see Weisbard 2008). We restrict ourselves to music created in the commercial marketplace and thus eliminate the many "classical" and "art" musics. Genres that function in nonprofit or grant-based economies have different creative, organizational, financial, audience, and critical support mechanisms than do commercial musics (Caves 2000). The types and trajectories of genres among nonprofit musics therefore take on distinct forms from those that are focal here (Arian 1971). |
” |
@Shawnc I think you need to refine your understanding of Google search results because that is not actually 2,750,000 results for the exact phrase. In general I think this demonstrates very little because we don't base our articles on random content siphoned from google searches and it also most certainly does not establish what the current academic consensus on the matter is. But for interest's sake let's do a more focused search across sources that would wield usable content using the search terms you provide:
Statement | Google Scholar | Google Books | JSTOR | Journal of Popular Music Studies | Popular Music and Society | Popular Music |
---|---|---|---|---|---|---|
"pop music is a genre of music" | 0 | 1 ( Chemistry Daily) | 0 | 0 | 0 | 0 |
"pop music is not a genre of music" | 0 | 1 ( a random comment) | 0 | 0 | 0 | 0 |
"pop is an actual genre of music" | 0 | 1 ( Yahoo Answers) | 0 | 0 | 0 | 0 |
"pop is not an actual genre of music" | 0 | 1 ( blog comment) | 0 | 0 | 0 | 0 |
The real issue here, as mentioned by Sabredb above, is one of "recentism", most of the scholarship that addresses the point is relatively new (the matter is covered in detail by Chris Rojek (2011) in "Pop Music Pop Culture") so I would concede that it is premature at this stage to merge the articles. Semitransgenic talk. 23:26, 6 May 2012 (UTC)
“ | ..to imply that pop can be separated from people's music [popular music] is to mistake today's leaky boundaries between genres, idioms, association and practice in music and much else besides. The production, exchange and consumption of the people's music have undergone tectonic movements over the last twenty years. As a result, huge fissures and major schisms have emerged in boundaries. This has changed traditional ideas of musical hierarchies, corporate power, authorship and docility of the audience. These movements have made music ubiquitous and instantaneous[...]one can hardly escape the conclusion that the opposition to using the descriptor 'pop', with respect to the people's music, has more to do with defending academic boundaries than engaging with cultural realities. | ” |
“ | In recent years, some authors, especially traditional musicologists, have objected to the use of 'pop' as a synonym for 'popular'. | ” |
“ | (...) with respect to well-favored music, pop is held to designate a specific, territorialized genre: that is, music defined by the Tin Pan Alley tradition of the three-minute song formula structured around narrative typifications, basic chord structures, harnessed to powerful commercial interest. To identify the people's music with pop is judged to be too limiting. Other widely liked genres, such as rock, progressive, heavy metal, country, indie, reggae, hip hop, rap, electronica, and so on, are organized differently. | ” |
A large chunk of the article was deleted back in 2008. (Some more potentially useful content was lost in 2010.) At least the important definition section was cited (unlike the business section). Part of this lost content appears to have been rebuilt (which would have been unnecessary if anyone had paid attention back then), but editors might wish to look over the deleted content to determine if they find anything useful that could be incorporated into the current article. Simply restoring all of it appears unwise to me, given how much the article has changed in the meanwhile. -- Florian Blaschke ( talk) 00:57, 17 June 2014 (UTC)
Hello! I am a student at Drake University enrolled in a course that is striving toward taking out the systemic bias out of Wikipedia. My proposed edit is not extensive yet, but I am using my sources to explain the global side of popular music. It also explains how it is difficult to label something as popular music or not. I touched on the connection between world music and being labeled as an "exotic other." I chose a couple of genres of music that are popular in different countries to explain how something may be popular in one context, but not another. The edit also discusses how the digitization of music has impacted the popular music field by allowing artists to become famous through social media. I am still not totally confident with my edit because it is very short at this point and I am nervous that I am trying to discuss different genres too in depth. I am also nervous that I am trying to make an argument out of this article because I am discussing the different countries' popular music genres. Later this week or this weekend I will be linking my proposed edit to this talk page. Thank you! -- HBov ( talk) 00:01, 29 October 2015 (UTC)
This article was the subject of a Wiki Education Foundation-supported course assignment, between 1 September 2022 and 13 December 2022. Further details are available on the course page. Student editor(s): GeloUMBC ( article contribs).
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Popular music folk music 158.62.75.75 ( talk) 17:13, 22 November 2022 (UTC)
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Right now the definition section begins by discussing the topic of "Folk Music". But the lead section of the article specifically excludes folk music from popular music. The rest of the definition section, as a whole, is neither cohesive nor coherent. There are several possible reasons for that.
If there are separate definitions that disagree, they need to be clearly laid out separately, rather than jumping back and forth between them without warning.
Unless someone disagrees soon with a good reason, I'm going to delete the "Folk Music" paragraph in the definition for being irrelevant. Even if it IS relevant somehow, it certainly can't be anywhere near the first paragraph, since the point is to define "Popular Music" and not to define something else. TooManyFingers ( talk) 16:34, 10 July 2023 (UTC)
The redirect Violent music has been listed at redirects for discussion to determine whether its use and function meets the redirect guidelines. Readers of this page are welcome to comment on this redirect at Wikipedia:Redirects for discussion/Log/2023 December 11 § Violent music until a consensus is reached. ~ ONUnicorn( Talk| Contribs) problem solving 18:03, 11 December 2023 (UTC)
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Text and/or other creative content from this version of Popular music was copied or moved into List of popular music genres with this edit. The former page's history now serves to provide attribution for that content in the latter page, and it must not be deleted as long as the latter page exists. |
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Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT ( talk) 06:58, 17 January 2022 (UTC)
The differences between what people tend to call "popular" and "classical" music has boggled me for some time. Thus, I postulate certain simple criteria with which to easily identify if the music is either of the two.
Popular music: - Is used to describe the music produced during the "popular music phenomenon" of early 20th C. America (Tin Pan Alley) of recording short songs to be commercially distributed on a large scale. Today's popular music, thus, descends from this commercial tradition.
Classical music: - Refers to any body of music (not even just Western) that has a long, generally systematized (there are long-established theories/rules, etc.) tradition of music. Practitioners generally undergo some sort of systematic training that is common to most performers of classical music.
In this sense, we can justify the reason why North Indian ragas fall under the term "Indian classical music", even if it does not primarily use notation or descend from the Western tradition. This is because performers of this type of music also undergo systematic training under a long tradition with long-established conventions/theories, as opposed to the relatively newer phenomenon of popular music.
Conclusion:
We have to be very clear, thus, that the term "popular music" is thought of as that tradition of commercially-distributed, recorded music that began during the early 20th C. Music that enjoyed wide appeal prior to this - Wagner or Mozart's operas, for instance - cannot be considered "popular music" because, clearly, they do not descend from that recorded music tradition.
So, just because a music is popular, does not mean it is "popular music", in this sense.
I might be a little out of words here, but I think this is easy to understand. — Preceding unsigned comment added by Lonious ( talk • contribs) 13:42, 18 September 2018 (UTC)
It's pure rubbish to assert that the musical generation gap has widened since WWII. It's been narrowing since about 1980, not widening. It's not unusual for young people today to raid their parents' music collections. The musical ideas of rock and roll's first decades still have a good deal of currency in today's rock music. What we have today, in terms of a generation gap, is nothing compared to the 1960s and 1970s when, I can tell you, we were not seeking out our parents' Frank Sinatra, Lawrence Welk, and Patti Page records. Pithecanthropus ( talk) 04:02, 19 October 2009 (UTC)
Boring, uninspired, somewhat elitist article that doesnt even give a basic definition of "popular" music. Most notable is a narrow-minded and oh-so persistent "distinction" between classical and popular music. Thus, according to article, Tool, PJ Harvey or Radiohead are "profit" driven popular music. Fine. And Schenker's analysis of "depth" are yet another sad reminder of obssolete and long forgotten western "classical" narcissism. —Preceding unsigned comment added by 89.146.160.148 ( talk) 08:39, 23 November 2007 (UTC)
I agree! The article suggests that every rock/hiphop/metal etc. song has a simple structure; this is not true for many genres including progressive rock/metal, idm, ambient and post-rock. Also, does grindcore appeal to a larger audience? I doubt that... — Preceding unsigned comment added by 84.56.0.108 ( talk) 00:36, 5 July 2011 (UTC)
Boring, uninspired, somewhat elitist article that doesnt even give a basic definition of "popular" music. Most notable is a narrow-minded and oh-so persistent "distinction" between classical and popular music. Thus, according to article, Tool, PJ Harvey or Radiohead (as witnessed by their latest album) are "profit" driven popular music. Fine. And Schenker's analyses of "depth" are yet another sad reminder of obsolete and long forgotten western "classical" narcissism. —Preceding unsigned comment added by Vsb ( talk • contribs) 08:48, 23 November 2007 (UTC)
Completely agree!!! I tried to add a little neutrality, and my comment was deleted because it wasn't cited... Like ANYTHING in this article is cited. —Preceding unsigned comment added by 68.57.127.82 ( talk) 04:52, 24 January 2008 (UTC)
It is good that this page does not quote hundreds of musicians - often a weakness of writing on popular music. nevertheless I think it is very simplistic. A large amount of profit is made out of classical music, often by the same record companies who sell popular music. Folk music was not "transmitted exclusively" orally, as recent studies have shown. The authenticity is oversimplified.
Many other forms of art have made lots of money. Would we claim that Picasso's work was no longer of much artistic value once he became rich - this would be difficult to claim. Many great artists and composers of the 16th to 18th centuries for example had to please their rich customers; often this affected adversely the quality of their work, but often it didn't. The fact that companies can make a lot of money doesn't always have the same effect.
there is however a tension between moneymaking (and therefore let's not take risks, let's try to sell what sold last year) and a need to rebel, taken up by each new generation in a different way (jazz, skiffle, folk, rock, punk, rave, rap etc)
The other difficulty is that popular music is a mass activity. for every band that makes money there are a thousand that don't, and half of them don't care.
JM
Nice page but it is off point in drawing the dichotomy between pop and other styles as being based on being performed for enjoyment. It is plainly obvious that numerous pop artists performed for enjoyment and at times were even part of the non pop genres before being discovered. I understand the point that is being attempted but it would be more accurate to work in the following facts: *Pop music can be of virtually any genre.
These are just a few suggestions and my main beef with the page is that it seems to at times present the pop artist as being a tool of the industry execs when it could actually be the other way around, such as in Rage Against the Machines decision to enter pop culture with the intention of spreading decidedly non-pop messages.
I appreciate the clarity that is created by the sections Popular_music#Genres and Popular_music#Genres_that_are_not_popular_music, but the actual situation is more complex, with some genres being considered a part of popular music by different writers at different times, and othertimes not. For example, some theories describe folk music as a large genre within popular music, some theories distinguish popular music from classical in that it is a part of folk music. Hyacinth 19:10, 3 Dec 2004 (UTC)
Musical genres usually considered not to be popular music include:
As noted earlier, these have a distinct character from popular music: either they are transmitted by word of mouth rather than in organized fashion (children's songs, authentic folk music) or else they are produced to fill the needs of a particular social institution (church, aristocracy, the military, or the state). Note that music pieces of each of these genres can become part of the popular music either in their pure form (like various gregorian compilation CD's) or as remixes (like Moby's Play).
I agree with some of the objections raised in this section. This article is written in a tone and manner that makes it seem like popular music vs. art music vs. traditional music is a very clear-cut distinction. It is in some cases, but in others it's not. For example, what is Hip hop music? There is popular hip-hop but there's a lot of it that arguably spills over into both of the other two categories. What about bluegrass? It could be called traditional music, but it could also be popular music...it might depend on the artist, or the way it's performed, etc. I think that this article needs to communicate these nuances--to not do so is to create a horrible bias, a very bad sort of POV. Cazort ( talk) 03:26, 19 November 2007 (UTC)
Should the following pages:
be changed to "List of pop performers" and "list of rock and roll performers"? For that matter, I'm not sure how we should distinguish between the two. At any rate, I think they should be moved out from subpages. Tarquin, Wednesday, June 19, 2002
User 152.163.253.100 raises the important point of when popular music began. The date of the 1950's cannot be correct, since it leave out big bands (1930-40's), ragtime (ca. 1900), parlor music like "Listen to the Mockingbird" (1855), and perhaps earlier stuff I'm not aware of.
I'd suggest that each genre, in its own article, be given a date of origin; we can't really generalize at this level except to identify the earliest popular music of any kind. Opus33 15:19, 21 Jul 2004 (UTC)
Well, popular music has emerged in the second half of the 19th century, so we have to write about cabaret, tin pan alley, music hall, circus, minstrel shows and all that, including sheet music sales, invention of gramophones and much more. That's definitely a complex task and requires much work and possibly reorganization of entire article. So it's better not to write anything about history at all.
I did not find a listing for Rockabilly music. This is a style of music that is still alive and well, and has been a great influnce on many artist and writers. George from the Beatles was a big fan of Carl Perkins.
Robert
Pop music is amazing.
This is not to say that popular music is definitively or always simpler than classical. The "default length" of phrases which classical music supposedly deviates from were set as the default by music of the common practice period. Jazz, rap and many forms of technical metal, for instance, make use of rhythms more complex than would appear in the average common practice work, and popular music sometimes uses certain complex chords that would be quite unusual in a common practice piece. Popular music also uses certain features of rhythm and pitch inflection not analyzable by the traditional methods applied to common practice music.
Are there any sources for such a claim? I certainly don't see anything backing it up.
Was thinking the same thing. I think the entire section should be rewritten and/or not compare popular music to classical music. The whole thing sounds like defending popular music rather than objectively comparing or providing insight into either. Also what is "average common practice work"? Technical metal? etc. 84.58.183.29 12:20, 12 January 2007 (UTC)
this site rocks but it needs pics ofgood rock bands
This section does not add anything to the article. The list is subjective and does not even contain albums generally considered to be the best or most important in the history of popular music. I propose that this section be deleted.
I removed:
from:
as it is a reply and would first need to show that Blink 182 etc started out trying to be "indie" and ended up mainstream. Hyacinth 10:35, 7 April 2006 (UTC)
I didnt get a good look at the entire list of genres, but that is what ive noticed. Has anyone else noticed oddities like this? - Psydude 15:58, 23 May 2006 (UTC)
Could someone with comprehensive knowledge about this sort of thing please look at the section about Axel F? I think this needs serious attention. Why is this track considered "classical" and "crossover" in any way? The sentence about it starting off being very popular is a bit inane. At the very least I think we need more information if these sort of claims are going to be made.
That whole bit is nonsense - I'm going to remove it (hope no-one minds?) Hopsyturvy 13:23, 22 August 2006 (UTC)
The revisions from August 28 2006, by 203.99.195.4, added that the contemporary music business was "founded by Ranjith," and then added the title "---the great" and gave some lifetime dates of "98842-65108 or 98405-28236." I have deleted these. Mkilly 15:47, 6 September 2006 (UTC)
The article includes a few thinly-supported negative descriptions of minimalism. It is true that composers such as Steve Reich were inspired by folk and popular music, but Reich would note that Bartok and Stravinsky were as well. The immitation of repetitive rhythmic and harmonic devices found in American rock, African and Indian traditional music, etc., was a very conscious and deliberate creative decision on the part of "minimalist" composers and largely a response to the hyper-density and complexity of 1950s serialism. On a side note, it would seem to make sense that some reference be made to the written tradition of classical music as opposed to the aural transmission of folk and popular music.
This paragraph should be removed for two reasons. First, a value judgement on the relative merits of classical and pop music is inappropriate for an encyclopedia. Second, it is factually incorrect. The statement "popular music sometimes uses certain complex chords that would be quite unusual in a common practice piece" is simply incorrect. To suggest that any popular music is more harmonically complex than Wagner is frankly ridiculous. "Jazz, rap and many forms of technical metal rhythms more complex than would appear in the average common practice work" - Mussorgsky's "promenade" from "pictures at an exhibition" features alternating bar lengths of 5 and 6. Mozart's "Don Giovanni" has a section in which the orchestra is split into three parts, each playing in a different time signature. This comment has been posted without any citations or references in its support. Does anyone object to its removal?
"This is not to say that popular music is definitively or always simpler than classical. The "default length" of phrases which classical music supposedly deviates from were set as the default by music of the common practice period. Jazz, rap and many forms of technical metal, for instance, make use of rhythms more complex than would appear in the average common practice work, and popular music sometimes uses certain complex chords that would be quite unusual in a common practice piece. Popular music also uses certain features of rhythm and pitch inflection not analysable by the traditional methods applied to common practice music."
This should be deleted for the following reasons.
-No sources are supplied in support of any of the statements.
-It is factually inaccurate.
-A discussion of the relative merits of classical music and pop music doesn't belong in an encyclopedia.
This paragraph is the kind of thing which gives wikipedia a bad name. I am deleting it.
No, it ISN'T factually inaccurate - you've just yet to hear any "popular" music (a total misnomer of a term - how are genres like IDM, avant-garde, experimental, and drone produced for 'commercial purposes' - that's right, they AREN'T!) that reaches that echelon of complexity. I'd advise looking beyond the radio. Elitism won't get you anywhere. Classical, baroque, romanticism, etc. are all just genres - they are in no way superior to genres such as technical death metal, drone, krautrock, progressive rock, avant-metal, etc etc... blah blah blah. In an ideal world there would be no conceited academic terms demarcating some fictive 'line' between these two 'realms' of music, but apparently people get a real kick of claiming 'popular' music is 'simplistic'. Whatever... maybe if all you've ever heard is The Beatles and Led Zeppelin... *yawn*... do the knowledge, then you'll be qualified to comment. Blah blah blah comment comment comment remark etc
121.223.196.153 (
talk) 08:52, 21 January 2011 (UTC)
But Classical music is inherently more wide-ranging and complex than Popular music in general, simply because the term refers to the entire Western tradition of music which spans hundreds of years. Obviously it would include a lot more devices than in the more recent phenomenon of Popular music. And while complexity does feature in Popular music, Classical is generally more complex (not on specific terms, but if you look at the general characteristics of each category, Classical features far more genres, far longer duration, and more extensive use of unusual melodic and rhythmic devices). Also, your "avant-garde" and "experimental" references are too specific examples to represent the general characteristics of "Popular music". Lonious ( talk) 02:54, 12 August 2018 (UTC)
Both the template and the infobox don't belong here, this article doesn't overlap the pop music one. Doktor Who 22:04, 24 August 2007 (UTC)
Is jazz different from both of these? I'd just like some opinions-- h i s s p a c e r e s e a r c h 23:17, 28 December 2007 (UTC)
Yes, Jazz is rooted in Popular music. Generally speaking, it is not "Classical" because it is not traditionally performed from sheet music, so that alone already invalidates it as a Classical music genre. Lonious ( talk) 02:57, 12 August 2018 (UTC)
This section is terrible. First of all, it claims that popular music is 'simple.' Progressive rock musicians would disagree with you. In fact, this entire article seems to be claiming that all non-classical music is throwaway commercial products with no artistic value. This is an insult to the vast repertoire of non-classical musicians who try to express themselves. Zazaban ( talk) 01:50, 24 April 2008 (UTC)
I realize house music would fit under the category of "popular music" by the indicated meaning in the article, but is it really a good idea to mention it in the first picture in the article? House music is a very underground type of music as are most electronic genres, and I think it would be more fitting to show a genre of music that is actually, to the alternative meaning of the word, popular, such as rock or "pop" music. —Preceding unsigned comment added by Kobb ( talk • contribs) 23:33, 2 May 2008 (UTC)
Since this article has no information about popular songs, per se, just the genre of popular music. I would like to redirect Popular Song to Song#Popular, and then expand that section to actually discuss what a popular song is. ---- CharlesGillingham ( talk) 20:43, 4 August 2008 (UTC)
I've never heard anybody use "Popular Music" as a pronoun. I've heard of "Pop Music", but there is another article with that name. The authors of this article are having a difficult time defining "Popular Music" because it is not a valid entity. It's just a phrase; it's not the title of anything. It would be like having an article for "Fast Boat" or "Tall Building". I think the confusion comes from the literal translation from other languages. The French call it "Musique Populaire", but it's the same as our "Pop Music". This article should be culled for any good information, combined with "Pop Music", and redirected. Although, I don't want to take an American centric stance. If more English speaking cultures around the world call it Popular Music than call it Pop Music, then do the same thing, but redirect Pop Music here. Noit ( talk) 00:47, 8 August 2008 (UTC)
I know this is about 10 years old, but I would like to posit that there seems to me just a few problems with Mr. Duhautpas' statements. Let me summarize:
Art music notion is concerned with written tradition and advanced structural, aesthetic and theoretical considerations....it’s about focussing on compositional advanced techniques and certain aesthetic considerations....(a)rt music is more exigent in terms of compositional techniques and theories. (Art music uses advanced structures, aesthetical notions, and theory)
--> Does this mean that any "complex" piece of music is "art music"? What about all the extremely simple music those Renaissance and Classical-era composers wrote down? They used simple ABA forms. There is nothing "advanced" about these, as far as musical theory goes. Same goes with a simple Chopin prelude, such as the Op. 28 no. 7 in A major. That piece has like just two parts.
--> I'm not saying your statement is wrong...I just want to clarify what it truly means. By your statement, we cannot consider a simple Elizabethan song, the countless simple songs or church hymns by well-known classical composers such as Cherubini, or a Chopin prelude "art music".
Any classical music from any culture is considered as art music. (Classical music is art music)
--> You just stated that art music is about advanced structure and theory. And here, you say that any classical music is automatically art music. How about all those simple classical pieces that have extremely simple form? You wouldn't be able to call these "art music", since, by the definitions that have been brought up, art music is, by nature, "advanced".
--> To contrast to this, you have popular music by Benny Goodman that is far more complex than a simple church hymn by Cherubini, etc.
Yes in contrast, popular music is freer and more instinctive in terms of composition. It doesn’t rely extensively on theories and compositional exigencies (complex techniques strict academic counterpoint or Fugue for example). (Popular music is freer and more instinctive, and doesn't use complex compositional techniques)
--> "Freer" and "more instinctive" are subjective terms and I don't know how to make this idea definable. However, I will take this at face value. But what about Baroque pop? Or any improvisation at all by Art Tatum, which is far more complex than most "art" piano pieces?
Again, I am not saying your statements are incorrect...I just want to clear up on what exactly are the definitions of "art music". Best of regards! Lonious ( talk) 14:07, 18 September 2018 (UTC)
the article that's supposed to be about the genre called pop music currently includes a lot of material that's actually about popular music in general, so i'm transferring it here in case someone wants to work it into this article. the first delivery, with reflist, is below. hope it's helpful ... Sssoul ( talk) 06:54, 23 December 2008 (UTC)
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In Britain, however, 20-plus years after the end of WWII, they didn't even have Top 40. Music broadcast was limited to the BBC and for only part of the day. The BBC's lack of music programming was the result of what was called needle time, which prevented the playing of records over the air for more than a set length of time per day. Needle time, it was thought, would keep the unionized musicians employed, while the record companies believed it would prevent the loss of record sales due to the ability to listen for free over the airwaves.
The BBC also had to play a certain amount of live music, according to the Musicians' Union, to ensure that performing musicians could make a living. This was called the 'Needle Time' restriction.
The examples and perspective in this article deal primarily with the United States and do not represent a
worldwide view of the subject. (August 2019) |
In contrast to genres with clear origins and a traceable evolution, pop developed, and continues to expand, as a haphazard merging of styles. Pop is an amalgam of successive fashions, of elements of many differing styles that have been successful over the years and have ended up incorporated into the genre. This section introduces the most significant tunes of each decade, and shows the progression of pop to its current form. Because performers of all varieties have released tracks that can be classified as pop, this article analyses songs, and does not list names of acts, bands, musicians or singers. For these please see the List of artists who reached number one on the Hot 100 (U.S.), List of artists who reached number one on the UK Singles Chart and List of artists by total number of U.S. number-one singles.
At the start of the 1950s songs in the pop genre were crossover styles from the standard formats of the day. In country music, instrumental soloing was de-emphasised and more prominent vocals added, commonly backed by a string section and vocal chorus, as exemplified in " (How Much Is) That Doggie In The Window", which became a hit in both the US and the UK in 1953. Two years later American folk music entered the pop spectrum with a modern version of a traditional tune, " The Yellow Rose of Texas" (1955).
Vocal performers of the great American songbook classics, crooners and big band singers, incorporated elements of other styles and orchestral enhancements to their repertoire, giving them greater formal complexity than their traditional antecedents. The Marc Blitzstein arrangement of " Mack the Knife" is an emblematic example, topping the charts on both sides of the Atlantic in 1954, as did " Singing the Blues" in late 1956 and early 1957.
This was also the decade of the advent of rock and roll, a massively influential genre that spawned innumerable changes in the social and cultural fabric of the US and the world. The convulsion began when " Rock Around the Clock" crowned the charts in the spring and summer of 1955, and continued with " Heartbreak Hotel", All Shook Up and " Tutti Frutti"
Previously regional or niche formats became mainstream for the first time, some going on to become genres in their own right. Latin music entered the general consciousness with " Cherry Pink (and Apple Blossom White)" in 1955, and Italian popular music with " Nel blu dipinto di blu" in 1958.
In Europe, pop music was to show its increasing popularity with the arrival of the Eurovision Song Contest in 1956. This competition would span the continent and continue on for the next five decades. The main idea behind the show, which was televised throughout Europe (and other parts of the world), was to unite the various nations through popular music. Many successful songs emerged from the contest over the years, but few were significant outside of Europe.
The decade kicked off a style that is still recorded today, the novelty song, combining humorous or parodic lyrics and simple, catchy melodies: " Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini" (1960). In 1961 a new format arose around close vocal harmonies and lyrics reflecting the Californian relationship with surfing, girls and cars: Surf pop. This very successful style is epitomised by tunes like " Surfin' USA" (1963), " California Girls" (1965) and " Good Vibrations" (1966). An unusual combination of minor chords and an unexpected synthesizer formed the basis of one of the greatest hits of the first half of the decade, " Runaway" (1961), whilst in the second half a four-note electric bass riff offsetting a simple melodic arrangement brought commercial and critical success to " Windy" (1967).
The music that had radiated from the US to the rest of the World in the previous decade bounced back in this one, bringing with it nuances, variations and completely new styles. In the United Kingdom teens developed a feel for rock and roll and the blues, blending them with local traditions like skiffle and giving rise to music they could relate to and perform with conviction. Youths with electric guitars began joining beat bands and writing and playing up-tempo melodic pop. Some of these enjoyed success only in Europe (" Apache" (1960), " The Young Ones" (1962), " Keep On Running" (1965) and " Where Do You Go To (My Lovely)" (1969)), as others crossed the Atlantic and became the British invasion (1964 to 1967), delivering a whole new range of influences to US pop with songs like " I Want to Hold Your Hand", " Can't Buy Me Love" and " Downtown" (all 1964), " Yesterday" (1965), " Yellow Submarine" (1966), " To Sir, with Love" (1967), " Hey Jude" (1968) and " Get Back" (1969).
African American music broke into popular culture in a big way in this decade, bringing with it new grooves and tempos, such as doo-wop, a style giving prevalence to melody-dominated homophony and vocal-based harmonies; rhythm and blues, a combination of jazz, gospel and blues; Motown, soul music with a prominent and melodic bass line, a distinctive chord structure and a call-and-response singing style:
"
I Can't Stop Loving You" (1962) " He's So Fine" (1963) " Hello Dolly!" (1964) " Baby Love" (1964) |
"
Reach Out I'll Be There" (1966) " Respect" (1968) " (Sittin' on) the Dock of the Bay" (1968) " I Can't Get Next to You" (1969) |
In 1965 Raybert Productions set out to create a pop band from scratch, selecting the members by their looks, dancing ability and appeal to different personalities of fan, rather than musical prowess. The company controlled every aspect of the group, from choice of music to individual behaviours, and guided them to extraordinary success in music, television and cinema. This type of prefabricated band was termed manufactured pop and is the precursor of boy bands and girl groups. The hit " I'm a Believer" (1967) was soon followed by a number one from another manufactured group, " Sugar, Sugar" in 1969. Many new and different styles of popular music developed during the 1960s, in the aftermath of rock & roll - see the article on Popular music.
In the mid- 1960s Sonny & Cher's smash hit single " I Got You Babe" became a defining recording of the early hippie countercultural movement and it helped them to become pop icons. A year later Cher, as a solo artist, released one of the most famous pop song ever recorded: " Bang Bang (My Baby Shot Me Down)".
Singer-songwriters and other folk-based artists were the biggest contributors to the pop genre in the first half of this decade, from 1970's " Bridge over Troubled Water" and " (They Long to Be) Close to You"(although this was not actually a singer-songwriter effort, but a was written by one of the last remnants of the Tin-Pan-Alley/Brill Building days, Burt Bacharach and Hal David), through 1971's " It's Too Late", to 1972's " American Pie", " Alone Again (Naturally)" and " Without You".
The main influence in the second half of the decade came from disco, a dance-oriented style with soaring, reverberated vocals, a steady beat and prominent, syncopated electric bass lines: " Disco Lady" and " Play That Funky Music" (both 1976), " I Just Want to Be Your Everything" (1977), " Night Fever" and " Stayin' Alive" (both 1978), " Bad Girls", " Le Freak", " Take Me Home" and " YMCA" (all 1979).
Country music re-entered pop in 1973 with " Tie a Yellow Ribbon Round the Ole Oak Tree" and in 1975 with " Rhinestone Cowboy", whilst the African American rhythms that had so affected the genre in the previous decade were still producing hits and expanding limits in this one. Disco, an almost entirely African American creation, was joined in the charts by protest songs (" War" (1970)), soulful ballads (" The First Time Ever I Saw Your Face" (1972), " Killing Me Softly with His Song" and " Let's Get It On" (both 1973)), and by more upbeat compositions (" Best of My Love" (1977)).
Sounds from the UK continued to permeate pop music, with pop rock songs like " Maggie May" (1971), " Da Ya Think I'm Sexy?" (1978) and " My Sharona" (1979); blues-based tunes in the style of " In the Summertime" (1970); and simple pop ditties such as " Save Your Kisses for Me", " Don't Go Breaking My Heart" and " Silly Love Songs" (all 1976).
In the early 1970s Cher released other pop hit-singles: " Gypsys, Tramps & Thieves", " Half-Breed" and " Dark Lady" that established her status as a pop icon. Diana Ross released " Ain't No Mountain High Enough", " Touch Me In The Morning", " Do You Know Where You're Going To", and " Love Hangover". These for releases helped make her the most successful female singer of the 1970s.
In the same way that Britain contributed to the genre since the 1960s, pop artists started appearing in other nations in the 1970s, some with surprising longevity and significance.
Special mention must go to Sweden for ABBA who took over the music world with songs like " Waterloo" (1974), " Fernando" (1976), " Take a Chance on Me" (1978), " Dancing Queen", " The Name Of The Game" and to Boney M for the hits " Daddy Cool" (1976), " Ma Baker" (1977) and " Rivers of Babylon" (1978).
Many popular songs came from female artists. A few of the most significant are " Hold On", " Nothing Compares 2 U" and " Vogue" (all 1990), " Rush Rush" (1991), " Save the Best for Last" (1992), " The Power of Love" and " Hero" (both 1993), " Creep" (1994), " Waterfalls" (1995), " Wannabe" " Always Be My Baby" and " Un-Break My Heart" (all 1996), " You Were Meant for Me" (late 1996 and early 1997), " How Do I Live" (1997), " Ray of Light" and " Believe" (both 1998), and " If You Had My Love", " ...Baby One More Time", " Have You Ever? and " Waiting For Tonight" (all in 1999).
Following-up on the positive results of the eighties, the music and film industries continued to benefit each other in this decade, including pop songs in movie soundtracks and releasing them as singles. Defining hits of the genre include " The Shoop Shoop Song" from 1990's Mermaids; " It Must Have Been Love" from 1990's Pretty Woman; " I Wanna Sex You Up" from New Jack City and " (Everything I Do) I Do It for You" from Robin Hood: Prince of Thieves (both 1991); " End of the Road" from Boomerang and " I Will Always Love You" from The Bodyguard (both 1992); " Can't Help Falling in Love" from 1993's Sliver; " Gangsta's Paradise" from Dangerous Minds, " Kiss from a Rose" from Batman Forever (both 1995), " Because You Loved Me" from Up Close & Personal (1996), and " My Heart Will Go On" from Titanic (1997).
Grunge and alternative music also pushed the boundaries of pop music in the 1990s. Most notably, Nirvana's song "Smells Like Teen Spirit" highlighted a mix of loud, garage band style punk rock ethic and catchy, pop music hooks and melodies that made a huge slash in the mainstream.
Dance music broke out of a specialised section of the market into pop in this decade, with hits such as " Gonna Make You Sweat (Everybody Dance Now)" (1991) and " The Sign" (1993). Simultaneously, African American influences continued with traditional pop and hip hop-inspired tunes. Indicative examples of the first are " Black or White" (1991) and " You Are Not Alone" (1995), notable instances of the second being " Baby Got Back" and " Jump" (both 1992), " On Bended Knee" and " I'll Make Love to You" (both 1994), and " I'll Be Missing You" and " Can't Nobody Hold Me Down" (both 1997).
Pop became truly international in the nineties, with hits coming from diverse and distant locations:
In a similar vein to the previous decade, female singers had a big influence on the pop genre in the 2000s, with soulful ballads, hip hop pieces and dance tracks: " Music", " Genie in a Bottle", " Oops!... I Did It Again" (both 2000); " What a Girl Wants", " Fallin'"," Love Don't Cost a Thing", " All for You" and " Can't Get You out of My Head" (all 2001); " Foolish", " Dirrty" , " What about Us?" (2002); " Crazy in Love" and " White Flag" (both 2003); " Beautiful", " If I Ain't Got You", " Toxic", Left Outside Alone, and " 1, 2 Step" (all 2004); " Hung Up", " We Belong Together", " Hollaback Girl" and " Since U Been Gone" (all 2005); " Girlfriend", " Bleeding Love", " Gimme More", " Piece of Me"," With Love", " Ain't No Other Man", " Umbrella", and " Say It Right" (all 2007); , " Disturbia"," Womanizer", and " Circus" (all 2008).
Traditional rock and pop rock made forays into pop with consecrated artists and newcomers both introducing songs to the genre: " Smooth", " Maria Maria" and " It's My Life" (all 2000), " Drops of Jupiter (Tell Me)" and " Stuck in a Moment You Can't Get Out Of" (both 2001), " This Love" (2003), and " Boulevard of Broken Dreams" (2005), " Burnin' Up (2008)." Entirely digital productions integrated new technology and sounds, and as electronic dance music entered the mainstream, pop artists started using producers and remixers who contributed their styles to the genre: " Feel Good Inc." (2005) and " Crazy" (2006) are good examples.
Once more, African Americans contributed heartily to pop with diverse styles. Some hits were hip hop-based, such as " I'm Real" and " Dilemma" (2001 and 2002 respectively), " In da Club" and " Ignition" (both 2003), " Yeah!" (2004), " Candy Shop" and " Don't Phunk with My Heart" (both 2005). Other chart-toppers were variations on reggae beats (" It Wasn't Me" (2000) and " Get Busy" (2003)) or more traditional rap compositions (" The Way You Move" (2003)).
The international appeal of pop was evident in the new millennium, with artists from around the world influencing the genre and local variants merging with the mainstream. Latin pop was successful with songs from Spain, " Hero" (late 2001/early 2002), " The Ketchup Song" (2002); and Colombia, " Whenever, Wherever" (2002) and " Hips Don't Lie" (2006). Russia made its breakthrough to the international charts with " All the Things She Said" (2002) which even topped the UK Singles Chart, while Moldavia hit the European charts with " Dragostea din Tei" (2003) and Romania with " Kylie" (2006).
maybe there should be a critism section although it may compromise the neutrality of the article. — Preceding unsigned comment added by 173.24.167.213 ( talk) 18:11, 24 March 2012 (UTC)
same subject, significant overlap. Popular music IS pop music, completely illogical to have two articles when a combination of the two in a single entry would make for a more informative overview. Semitransgenic talk. 09:28, 27 March 2012 (UTC)
“ | Journal of Popular Music Studies features work on popular music in its historical, cultural, aesthetic, and political registers. Its purview encompasses all genres of music that have been dubbed popular. The journal is also concerned with such issues as popular music’s intersections with other arts, its relationships with old and new media, and its status as a field of research and critical writing. | ” |
“ | founded in 1971, publishes articles, book reviews, and audio reviews on popular music of any genre, time period, or geographic location. Popular Music and Society is open to all scholarly orientations toward popular music, including (but not limited to) historical, theoretical, critical,
sociological, and cultural approaches. |
” |
In Classification as Culture: Types and Trajectories of Music Genres (Lena and Peterson 2008:697-718) we read: "
“ | Not all commercial music can be properly considered a genre in our sense of the term. We consider music crafted for specific types of venues or referred to as commercial categories to be non-genred music. Examples include Tin Pan Alley, Broadway show tunes, and commercial music crafted for a specific demographic and designated by a commercial category (e.g., middle of the road [MOR], music for lovers, dance music, and easy listening music).
Much the same argument holds for pop and teen music. At its core, pop music is music found in Billboard magazine's Hot 100 Singles chart. Songs intended for the pop music market usually have their distinguishing genre characteristics purposely obscured or muted in the interest of gaining wider appeal (Weisbard 2008). Artists making such music may think of their performances in terms of genre, but the organizations that assist them in reaching the chart most certainly do not. As a case in point, artist development expert Lou Pearlman played a vital role in creating the "boy band" sensation of the late 1990s (e.g., Backstreet Boys, O Town, and 'N Sync) by putting together per formers who answered casting calls. Such star-making is a fascinating and under researched topic but beyond our focus here. That said, genre music can transform into pop music, and consequently the pop charts are a mix of "pure" pop (i.e., a succession of hits that are marginally different) and songs derived from genres that are popular at the moment, such as rap or punk. Thus, pop is considered a chart, a way of doing business, or a target demographic, but not a genre (Anand and Peterson 2000; but see Weisbard 2008). We restrict ourselves to music created in the commercial marketplace and thus eliminate the many "classical" and "art" musics. Genres that function in nonprofit or grant-based economies have different creative, organizational, financial, audience, and critical support mechanisms than do commercial musics (Caves 2000). The types and trajectories of genres among nonprofit musics therefore take on distinct forms from those that are focal here (Arian 1971). |
” |
@Shawnc I think you need to refine your understanding of Google search results because that is not actually 2,750,000 results for the exact phrase. In general I think this demonstrates very little because we don't base our articles on random content siphoned from google searches and it also most certainly does not establish what the current academic consensus on the matter is. But for interest's sake let's do a more focused search across sources that would wield usable content using the search terms you provide:
Statement | Google Scholar | Google Books | JSTOR | Journal of Popular Music Studies | Popular Music and Society | Popular Music |
---|---|---|---|---|---|---|
"pop music is a genre of music" | 0 | 1 ( Chemistry Daily) | 0 | 0 | 0 | 0 |
"pop music is not a genre of music" | 0 | 1 ( a random comment) | 0 | 0 | 0 | 0 |
"pop is an actual genre of music" | 0 | 1 ( Yahoo Answers) | 0 | 0 | 0 | 0 |
"pop is not an actual genre of music" | 0 | 1 ( blog comment) | 0 | 0 | 0 | 0 |
The real issue here, as mentioned by Sabredb above, is one of "recentism", most of the scholarship that addresses the point is relatively new (the matter is covered in detail by Chris Rojek (2011) in "Pop Music Pop Culture") so I would concede that it is premature at this stage to merge the articles. Semitransgenic talk. 23:26, 6 May 2012 (UTC)
“ | ..to imply that pop can be separated from people's music [popular music] is to mistake today's leaky boundaries between genres, idioms, association and practice in music and much else besides. The production, exchange and consumption of the people's music have undergone tectonic movements over the last twenty years. As a result, huge fissures and major schisms have emerged in boundaries. This has changed traditional ideas of musical hierarchies, corporate power, authorship and docility of the audience. These movements have made music ubiquitous and instantaneous[...]one can hardly escape the conclusion that the opposition to using the descriptor 'pop', with respect to the people's music, has more to do with defending academic boundaries than engaging with cultural realities. | ” |
“ | In recent years, some authors, especially traditional musicologists, have objected to the use of 'pop' as a synonym for 'popular'. | ” |
“ | (...) with respect to well-favored music, pop is held to designate a specific, territorialized genre: that is, music defined by the Tin Pan Alley tradition of the three-minute song formula structured around narrative typifications, basic chord structures, harnessed to powerful commercial interest. To identify the people's music with pop is judged to be too limiting. Other widely liked genres, such as rock, progressive, heavy metal, country, indie, reggae, hip hop, rap, electronica, and so on, are organized differently. | ” |
A large chunk of the article was deleted back in 2008. (Some more potentially useful content was lost in 2010.) At least the important definition section was cited (unlike the business section). Part of this lost content appears to have been rebuilt (which would have been unnecessary if anyone had paid attention back then), but editors might wish to look over the deleted content to determine if they find anything useful that could be incorporated into the current article. Simply restoring all of it appears unwise to me, given how much the article has changed in the meanwhile. -- Florian Blaschke ( talk) 00:57, 17 June 2014 (UTC)
Hello! I am a student at Drake University enrolled in a course that is striving toward taking out the systemic bias out of Wikipedia. My proposed edit is not extensive yet, but I am using my sources to explain the global side of popular music. It also explains how it is difficult to label something as popular music or not. I touched on the connection between world music and being labeled as an "exotic other." I chose a couple of genres of music that are popular in different countries to explain how something may be popular in one context, but not another. The edit also discusses how the digitization of music has impacted the popular music field by allowing artists to become famous through social media. I am still not totally confident with my edit because it is very short at this point and I am nervous that I am trying to discuss different genres too in depth. I am also nervous that I am trying to make an argument out of this article because I am discussing the different countries' popular music genres. Later this week or this weekend I will be linking my proposed edit to this talk page. Thank you! -- HBov ( talk) 00:01, 29 October 2015 (UTC)
This article was the subject of a Wiki Education Foundation-supported course assignment, between 1 September 2022 and 13 December 2022. Further details are available on the course page. Student editor(s): GeloUMBC ( article contribs).
— Assignment last updated by CJS77 ( talk) 01:46, 10 December 2022 (UTC)
Popular music folk music 158.62.75.75 ( talk) 17:13, 22 November 2022 (UTC)
This article was the subject of a Wiki Education Foundation-supported course assignment, between 17 January 2023 and 17 March 2023. Further details are available on the course page. Peer reviewers: Cozycardigan, Aduhe16, SadPandaBear.
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This article was the subject of a Wiki Education Foundation-supported course assignment, between 5 January 2023 and 29 April 2023. Further details are available on the course page. Student editor(s): Chanel.Young001 ( article contribs).
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The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion:
Participate in the deletion discussion at the nomination page. — Community Tech bot ( talk) 05:24, 8 April 2023 (UTC)
Right now the definition section begins by discussing the topic of "Folk Music". But the lead section of the article specifically excludes folk music from popular music. The rest of the definition section, as a whole, is neither cohesive nor coherent. There are several possible reasons for that.
If there are separate definitions that disagree, they need to be clearly laid out separately, rather than jumping back and forth between them without warning.
Unless someone disagrees soon with a good reason, I'm going to delete the "Folk Music" paragraph in the definition for being irrelevant. Even if it IS relevant somehow, it certainly can't be anywhere near the first paragraph, since the point is to define "Popular Music" and not to define something else. TooManyFingers ( talk) 16:34, 10 July 2023 (UTC)
The redirect Violent music has been listed at redirects for discussion to determine whether its use and function meets the redirect guidelines. Readers of this page are welcome to comment on this redirect at Wikipedia:Redirects for discussion/Log/2023 December 11 § Violent music until a consensus is reached. ~ ONUnicorn( Talk| Contribs) problem solving 18:03, 11 December 2023 (UTC)