Pop Music

Style

Pop music is a music genre that features a noticeable rhythmic element, melodies and hooks, a mainstream style and a conventional structure. The term “pop music” was first used in 1926 in the sense of “having popular appeal” (see popular music), but since the 1950s it has often been used colloquially to designate an ostensibly separate musical genre, sometimes perceived as a “lighter” alternative to other forms of popular music, such as rock and roll.

The standard format of pop music is the song, customarily less than five minutes in duration, with instrumentation that can range from an orchestra to a lone singer. Pop songs are generally marked by a consistent and noticeable rhythmic element, a mainstream style and traditional structure. Common variants are the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, and a chorus that contrasts melodically, rhythmically and harmonically with the verse.

Traditional pop or Classic pop or Standards music denotes, in general, Western (and particularly American) popular music that either wholly predates the advent of rock and roll in the mid-1950s, or to any popular music which exists concurrently to rock and roll but originated in a time before the appearance of rock and roll, and its offshoots, as the dominant commercial music of the United States and Western culture.

Origins

Classic pop embraces the song output of the Broadway and Hollywood show tune writers from approximately World War I to the 1950s, such as Irving Berlin, Harold Arlen, Jerome Kern, George Gershwin and Ira Gershwin, Richard Rodgers, Lorenz Hart, Oscar Hammerstein, Johnny Mercer, Dorothy Fields, Hoagy Carmichael, Cole Porter and a host of others. The works of these songwriters and composers are usually considered part of the canon known as the “Great American Songbook”.

The big band era further developed the genre of “pop standards”. Bandleaders like Tommy Dorsey, Cab Calloway, Benny Goodman, and Count Basie continued to innovate. Big band singers, who had previously been considered instrumentalists and were rarely singled out, now became huge stars, like Frank Sinatra, Doris Day, Ella Fitzgerald, and Dinah Shore.

The genre was embodied by a remarkable and diverse group of singers, writers and stylemakers. Jazz pioneers Louis Armstrong, Duke Ellington, and Paul Whiteman first popularized jazz music among a diverse audience. Meanwhile the Tin Pan Alley and Broadway songwriters popularized the “Great American Songbook”. Soon afterward, radio introduced millions of Americans to the same songs, often written by artists like Hoagy Carmichael, or sung in a more soothing, personal style by crooners like Rudy Vallee or Bing Crosby.

The distinction between pop standards and the broader popular music of the aforementioned time period lies in an enduring appeal of the greatest of these songs, long after their time of being “chart hits,” although methods for measuring commercial appeal changed greatly over the course of the twentieth century. The songs of classic pop may also be said to possess certain ineffable qualities, including but not limited to an ease and memorability of melody, along with wit and charm of lyric. The greatest of the classic pop writers achieved this with regularity; at the same time, many classic pop standards, such as “Learning the Blues” by Dolores Silver, “Willow Weep for Me” by Ann Ronell were that era’s version of the one-hit wonder: songs from writers who never again delivered an eventual standard.