The invention of the phonographic cylinder on the tail end of the nineteenth century, and the more lasting disc expertise developed initially of the 20th century took the standardization of songs and potential for mass consumption a step further. By the Nineteen Fifties the migration of African Americans to cities in the North had resulted within the cross-fertilization of elements of blues with the up-tempo rhythms of jazz to create rhythm and blues. Rock and roll, pioneered by figures corresponding to Elvis Presley, soon developed as an amalgam of rhythm and blues with nation music and other influences (see rock music).
In the 1960s British rock groups, including the Beatles, grew to become internationally influential and popular. Rock and soul music (particularly the delicate however hook-laden number of the latter, which took its name from the company that created it, Motown) shortly attracted the allegiance of Western teenagers and eventually grew to become the sound monitor for younger people all through the world. The history of pop into the twenty first century has basically been that of rock and its variants, together with disco, heavy steel, funk, punk, hip-hop, and more and more pop-oriented world music.
It is true that music critics and scholars have typically tried to refine this utilization, by, for example, periodizing “rock‘n’roll” because the music of the Nineteen Fifties and “rock” because the music of the Nineteen Sixties and early Seventies. Regev appears to be making an attempt to respond to an expected critique from this attitude, including the word “pop” in his new name so that he can’t be accused of elevating bastardized or diluted forms to legitimate status. His larger level about aesthetic cosmopolitanism does not rely upon the existence of a single tremendous style, but merely on the widespread adoption of various musical components, performance styles, or production methods derived from Anglo-American data.
Moreover, by reducing the entire global music he discusses to a single category, he erases its many local and national variations and the actual cultural meanings it has in several times and places. Yet when Regev claims that these shared parts can be meaningfully used to outline a heretofore-unrecognized super genre, “pop-rock music,” I for one am not persuaded. While Regev’s power is applying a spread of social theory to the issue of worldwide well-liked music, his weak point appears to be the music itself. In reality, he repeatedly dismisses in style music historical past as “mythologized,” while seeming to simply accept at face value the nationwide traditions and history that preceded aesthetic cosmopolitanism. As Hobsbawm and Ranger’s collection detailed, mythologized historical past and invented custom are co-extensive with the nation state itself.
In English, the favored name for the hodgepodge of music Regev includes is “rock,” and “pop” is used to name music that tends towards the character and attitude of popular music before rock’s creation. In this sense, “rock” and “pop” are poles that outline American popular music of the last half of the twentieth century.