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  1. Synth-pop - Wikipedia

    en.wikipedia.org/wiki/Synthpop
    • Overview
    • Characteristics
    • History
    • Criticism and controversy
    • Influence and legacy

    Synth-pop is a subgenre of new wave music that first became prominent in the late 1970s and features the synthesizer as the dominant musical instrument. It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, electronic, art rock, disco, and particularly the "Krautrock" of bands like Kraftwerk. It arose as a distinct genre in Japan and the United Kingdom in the post-punk era as part of the new wave movement of the late 1970s to the mid-1980s. Electronic mus

    Synth-pop was defined by its primary use of synthesizers, drum machines and sequencers, sometimes using them to replace all other instruments. Borthwick and Moy have described the genre as diverse but "...characterised by a broad set of values that eschewed rock playing styles, rhythms and structures", which were replaced by "synthetic textures" and "robotic rigidity", often defined by the limitations of the new technology, including monophonic synthesizers. Many synth-pop musicians had limited

    Electronic musical synthesizers that could be used practically in a recording studio became available in the mid-1960s, around the same time as rock music began to emerge as a distinct musical genre. The Mellotron, an electro-mechanical, polyphonic sample-playback keyboard was ov

    Early guitar-based punk rock that came to prominence in the period 1976–77 was initially hostile to the "inauthentic" sound of the synthesizer, but many new wave and post-punk bands that emerged from the movement began to adopt it as a major part of their sound. British ...

    The emergence of synth-pop has been described as "perhaps the single most significant event in melodic music since Mersey-beat". By the 1980s synthesizers had become much cheaper and easier to use. After the definition of MIDI in 1982 and the development of digital audio, the cre

    Synth-pop has received considerable criticism and even prompted hostility among musicians and in the press. It has been described as "anaemic" and "soulless". Synth-pop's early steps, and Gary Numan in particular, were also disparaged in the British music press of the late 1970s and early 1980s for their German influences and characterised by journalist Mick Farren as the "Adolf Hitler Memorial Space Patrol". In 1983, Morrissey of the Smiths stated that "there was nothing more repellent than the

    By the mid-1980s, synth-pop had helped establish the synthesizer as a primary instrument in mainstream pop music. It also influenced the sound of many mainstream rock acts, such as Bruce Springsteen, ZZ Top and Van Halen. It was a major influence on house music, which grew out of the post-disco dance club culture of the early 1980s as some DJs attempted to make the less pop-oriented music that also incorporated influences from Latin soul, dub, rap music, and jazz. American musicians such as Juan

    • 1977–80 in United Kingdom and Japan
    • New wave, art pop
  2. List of synth-pop artists - Wikipedia

    en.wikipedia.org/wiki/List_of_synth-pop_artists

    Synth-pop (also known as electropop or technopop) is a music genre that uses the synthesizer as the dominant musical instrument. With the genre becoming popular in the late 1970s and 1980s, the following article is a list of notable synthpop acts, listed by the first letter in their name (not including articles such as "a", "an", or "the").

  3. Synth-pop From Simple English Wikipedia, the free encyclopedia Synth-pop is a subgenre of pop music in which the synthesizer is the main musical instrument. An electronic music genre, synthpop is additionally influenced by rock genres such as New Wave music and punk rock, as well as disco music.

  4. Synth-pop - Wikipedia

    sco.wikipedia.org/wiki/Synth-pop

    Synthpop (an aa kent technopop), a genre o popular muisic that first acame prominent in the 1980s, featurs the synthesizer as the dominant muisical instrument.

  5. Category:Synthpop songs - Wikipedia

    en.wikipedia.org/wiki/Category:Synthpop_songs

    This category is located at Category:Synth-pop songs. Note: This category should be empty. See the instructions for more information.. Administrators: If this category name is unlikely to be entered on new pages, and all incoming links have been cleaned up, click here to delete.

  6. Talk:Synth-pop - Wikipedia

    en.wikipedia.org/wiki/Talk:Synth-pop

    "Synth-pop (short for synthesizer pop; also called techno-pop) is a genre of pop music that became prominent in the late 1970s and was closely associated with new wave music." Of course, we need better references and if those guide us to something different then that is where we should go.

  7. Synth-pop – Wikipédia, a enciclopédia livre

    pt.wikipedia.org/wiki/Synth-Pop

    Synth-pop (abreviação de synthesizer pop) também chamado de technopop, é um subgênero da música new wave, pré-definido na década de 1960 e início da década de 1970, pelo uso do teclado sintetizador como o instrumento musical dominante, substituindo progressivamente a guitarra, no rock progressivo, música eletrônica, art rock, música disco e, alcançou o auge na década de 1980.

  8. Synthesizer - Wikipedia

    en.wikipedia.org/wiki/Synthesizer

    In 1983, Yamaha released the first commercially successful digital synthesizer, the Yamaha DX7. Based on frequency modulation (FM) synthesis developed by Stanford University engineer John Chowning, the DX7 remains one of the bestselling synthesizers in history and was the first synthesizer to sell over 100,000 units.

  9. Synthpop – Wikipedie

    cs.wikipedia.org/wiki/Synth_pop

    Synthpop je hudební žánr, ve kterém má dominantní postavení syntetizátor.Je velmi úzce spojený s érou mezi koncem 70. let a první polovinou 80. let, kdy byl syntetizátor praktickým a přijatelným nástrojem.

  10. Synth-pop – Wikipedia tiếng Việt

    vi.wikipedia.org/wiki/Synth-pop

    Synth pop, a spare, synthesizer-based dance pop sound, was its first embodiment. ^ Trynka & Bacon 1996, tr. 60.