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  1. Pop/Rock Music Genre Overview | AllMusic

    Pop/Rock Rock & Roll is often used as a generic term, but its sound is rarely predictable.

  2. Pop rock music | rock

    Pop rock is a hybrid of pop music and rock music that uses catchy pop style, with light lyrics over top of guitar- or piano- based songs. There are varying definitions of the term, ranging from it being classed as an "upbeat variety of rock music" to a subgenre of pop music or of ro… read more

  3. Pop Rock might seem like a somewhat ambiguous title for a genre station, but that's just because it covers a lot of awesome ground! Turn it up and hear the most popular pop and rock songs from the '80s to today! Songs On This Station

  4. Pop rock - Wikipedia

    Pop rock (also typeset as pop/rock) is rock music with a greater emphasis on professional songwriting and recording craft, and less emphasis on attitude. Originating in the late 1950s as an alternative to normal rock and roll, early pop rock was influenced by the beat, arrangements, and original style of rock and roll (and sometimes doo-wop).

  5. Pop/Rock Music Songs | AllMusic

    Pop/Rock Rock & Roll is often used as a generic term, but its sound is rarely predictable.

    (I Can't Get No) Satisfaction Mick Jagger / Keith Richards
    Yesterday John Lennon / Paul McCartney
    Good Vibrations Mike Love / Brian Wilson
    Johnny B. Goode Chuck Berry
  6. Pop Rock Bands | List of Best Pop Rock Artists/Groups

    Nov 12, 2020 · Over the years, pop rock has come to dominate the radio waves. Mixing a catchy pop sound with light (read: not serious) lyrics combined with guitar rock, pop rock bands are some of the most popular bands on the planet and making some of the best rock songs of 2018.

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  8. Pop / Rock - Music Record Shop

    Welcome to Music Record Shop, your online destination for the finest vinyl records. If you’re looking for domestic and imported reissued music CDs, vinyl records, limited edition box sets, music DVDs, and related merchandise, we’re the music store you’ve been searching for.

  9. Pop Rock Music | MsKaye - YouTube

    Pop rock is rock music with a greater emphasis on professional songwriting and recording craft, and less emphasis on attitude. Originating in the late 1950s ...

    • 253 min
    • 159
    • MsKaye
  10. Form in pop/rock music – Overview – Open Music Theory
    • Strophic Form
    • 32-bar Song Form
    • Verse-Chorus Form
    • Simple Verse-Chorus Form
    • Super-Simple Verse-Chorus Form
    • Going Into Detail

    Consider “Blue Suede Shoes” by Carl Perkins. This song contains multiple modules, all of which have the same basic underlying music. Though the instrumentation and the lyrics change, the section beginning at 0:19 contains the same – or, at least, very similar – melody, harmony, and phrase structure as the sections that begin at 0:58, 1:37, and 1:54. Listening a bit more closely, we can hear a similar, but abbreviated, version of the same patterns at the opening of the song. Even the instrumental sections at 0:41 and 1:21 have the same underlying pattern, just a different melody in the form of a guitar solo. The entire song is a repetition of this same basic pattern, or slight variations of it, modeled at 0:19–0:41. Songs that follow this structure of repeating the same basic multi-phrase unit throughout are called strophic songs. The form is called strophic form (sometimes abbreviated AAA, because the same basic material A is repeated), and the basic unit that is repeated is called...

    Another formal structure that is more common in early rock-and-roll is AABA form, also called 32-bar song form because of some of the features of earlier “Golden Age” songs that make use of this structure. Consider “I Want to Hold Your Hand” by The Beatles. After a brief introduction, the song begins with two strophes. However, where “Blue Suede Shoes” followed with an instrumental strophe, The Beatles move to a bridge at 0:52. This new section builds tension by contrasting and withholding the main strophe theme before it returns at 1:11. Note that the song begins and ends with the strophe, and the strophe contains the title lyrics. It also, for many people, is the more memorable part of the song. Thus, the strophe is still the primary module. But now it has a secondarymodule to add interest and tension, the bridge. (And an auxiliary module, the intro, to help get the song off the ground.) Here is a bird’s-eye-view sketch of the form of “I Want to Hold Your Hand”: 1. 0:00 – Intro 2....

    The last of the three main form types, verse-chorus form is a versatile song form that rapidly took over rock-and-roll in the 1960s and has dominated the genre ever since. Like AABA form, verse-chorus form has multiple core (non-auxiliary) modules. However, where the title lyrics, the most memorable music, and the main narrative all tend to take place in the strophe of an AABA song (which both begins andends the song), in verse-chorus form, those features are split between the verse (a secondary module, which contains the main narrative text, and which begins the song) and the chorus (the primary module, which contains the title lyrics, the most memorable melody, and which ends the song). Consider Bon Jovi’s song “Livin’ on a Prayer.” After an extended intro, the first cycle begins with a verse at 0:47. Then at 1:18 a prechorus increases energy and tension into the chorus at 1:34. After a brief mid-song introduction, this cycle is repeated beginning at 1:54, with the addition of a p...

    Simple verse-chorus formis a term coined by John Covach, referring to songs in verse-chorus form where the harmonic progression underlying the verse is the same as that underlying the chorus. A prime example of this is U2’s “With or Without You.” HTML link: Spotify URI: spotify:track:5JGEAz15LkPoOtFHttDtVs

    Super-simple verse-chorus form is a term coined by Jay Summach(based on Covach’s), referring to songs in verse-chorus form where both the harmonic progression and the melody are both the same for verse and chorus (Summach, p. 322).

    The following sections go into greater detail about these large-scale structures and the component structures that make them up. Terms, concepts, definitions, and notational guidelines in OMT are taken either from common convention; the published or unpublished work of Jason Summach, John Covach, Walter Everett, Mark Spicer, or Daniel Harrison; or some combination thereof. 1. Terminology and basic concepts 2. Formal containers and module structures 3. Formal functions 4. Analytical notation

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