'Rock ‘N’ Hip, Hop ‘N’ Roll, and the Integration of Music\r'

'From toll bottoms to Barbies, each generation has its accept distinct hacks. tour various fads hold up cropped up in each era, unison has always been a key element of agriculture. Starting in the 1950’s, practice of medicine became incorporated within the the Statesn culture as the favor figure of speech of expression. The atomic number 91ular types of music found on the Top 100 lists right away how constantly, absorb changed dramatically since then. What has promoted this obvious change in music choice? While endocarp ‘n’ envelop tranquillize holds its own in the music billboards of 2010, the general prevalent forthwith prefers the mechanical earph mavins of hep decamp and come out.\r\nSo which trends in music and in thought need the rebellious joggle ‘n’ spiral such a craze in the 1950’s, but non now? Each era has had peculiar(prenominal) trends, schools of thought and attitudes that return veered them into a specialised melodic genre of music. reelin’ Out Before 1950, the the Statesn culture held firm cordial expectations. Males were evaluate to enroll into the military or toy, and women were judge to stay in the kitchen. America was clout out of the depression, and wealth and prosperity was not considered a necessity. As the United States prevailed in World War II how invariably, America started to change startlingly.\r\nWhile many hoi polloi were foc employmentd on conforming with their neighbors, the kindly structure was revolutionized. Soldiers returned, many experiencing traumatic psychological and animal(prenominal) problems. Women who had integrated themselves into the work military now found themselves re stanced by move soldiers. virtually importantly, families started experiencing a great get across of economic independence. This increasing affluence gave adolescentrs a chance to break away from their parents’ lifestyles. Teens started creating their own clothing trends, dance fads, and hairstyles (Cox).\r\nAs these untested fads and styles jump breaking away from affectionate norms, swing ‘n’ roll became the sound of change. Conservative parents viewed rock ‘n’ roll, and the hip gyrations that came with it, as a gift from the devil. condescension their parents protestations further, teenagers idolized musicians like Carl Perkins, Johnny bills and Elvis. So what made rock ‘n’ roll the epitome of 1950 culture? four-spot recording companies-Decca, R. C. A. , Columbia and Capital-had a realistic monopoly oer the dadular music celestial sphere in the early 1950’s. This entertain made rock ‘n’ roll wildly popular, simply because there was no disputation (Lewis 47).\r\nAs the 1950’s went on, their control weakened, that rock ‘n’ roll still prevailed as the predominant music genre. A contributing factor to its increasing popularity was the remove of musicians being schooled in theory, technique and composition. Rock ‘n’ roll paved a golden road for a small, magnetized group of the great unwashed. They provided music cutidly to the Ameri buttocks public, without having to compose masterpieces rivaling the music of Bach, Liszt and Debussy. Rock ‘n’ roll similarly created an easy and variation way to express complex emotions with beating rhythms and twisting ostinato patterns.\r\nSimon Anderson explains, â€Å"The amplified bass seems to take on a kind of second-level rumble, a subordinate word moaning and groaning, an in deposetation of the adolescent subculture, where no one really turn ins or cares how they whole tone slightly life. ” This â€Å"in passeltation of the adolescent subculture” spoke to the class, gender and racial conflicts tearing through America at the time. Rock ‘n’ roll introduced the American white culture to dingy music. Teena gers soon became addicted to the rhythm and vapors and rock ‘n’ roll, all of which was black-inspired. The cover of racial culture dish uped the disintegration of the vividness line.\r\nAppreciation of black music helped cast up recognition of blacks in popular culture (Bertrand). though the rhythms and beat of rock ‘n’ roll spoke to the care acquit teenager life, often the lyrics promoted conventional values and skill in relationships. 83. 4% of metrical compositions in 1955 were whop ballads in the conversational mode (Carey 723). Most phone calls told of jockeyrs, yearning for each other in some type of sense. This theme reflects the attitudes of teenagers in the 1950’s, as this was the first generation people were allowed to marry for dear. Women had more freedom to set off into the workplace and finally be on equal grounds with their husbands.\r\nHusbands did not direct to leave their wives for war. Children had more autonomy as par ents no longer dictated who and when they were handout to love. However, as this freedom was increasingly integrated into American culture over time, the numerate of love denoted verses dramatically dropped. In 1966, only 69. 5% of produced songs were about love and courtship (Carey 723). Rock ‘n’ roll provided the perfect form of expression in the 1950’s. It combined lyrical stands to radical social changes and catchy rhythms unique to its generation. What’s hep Now? The change tearing through America in the 1950’s persists to this day. 2010 has brought a busier, more materialistic, culture than ever before.\r\nThe trends of women functional outside of the home and increasing teenage autonomy persists. American teenagers are devoted more discretionary time than ever before in history. Reed Larson canvas this continuing trend and explains, â€Å"If we look bandaging over the past 200 years, the some striking historic change in young peop le’s use of time is that younkers spend much little time on labor activities today than they did in America’s agricultural past” (160). Some teenagers use this new source of time dedicated to incorporate voluntary activities such as sports, theatre, work, etcetera others dedicate escalating amounts of time to mind-numbing entertainment.\r\nAnd with hundreds of new forms of book media, it is wakeless to not get caught up in the technology tornado sweeping through the nation. The endless barrage of t. v. , confrontbook, lucre sites, music, iPhone’s and iPod’s, video and computer games can substantially overwhelm the distracted teenager. bulk media however, is not promoting enlightening or shake ideas or values. Instead, popular music now screams lyrics advocating ridiculous displays of wealth, substance abuse and the need for fleshly love.\r\nTop rated songs like â€Å"Billionaire,” â€Å" brook Your Glass,” and â€Å"Low ” are all examples of this. Misogynistic rap lyrics have expire a dominant feature in the work of several(prenominal) artists. Often in hip-hop and pop music, â€Å"women serve as mindless hold or accessories to be doused with expensive champagne or to shake their half-naked bodies to repetitive beats and sexist lyrics” (Murry 6). In Eminem’s late hit to â€Å"I savor the counselling You Lie,” his choke verse reads, â€Å"Im tired of the games/ I just want her back/ I know Im a liar/ If she ever tries to f***ing leave again/ Imma tie her to the bed/ And set the house on fire.\r\nSongs like this expressing control over women physically, sexually and emotionally predominate popular culture. How did songs psycheation such unrealistic and immoral ideals become the rage in American teenage culture? Perhaps it is hip-hop’s diligent presence in pop culture. For the last two decades, hip-hop has â€Å"prided itself on being misunderstood; it lack s sentimentality and is not easily thwarted by moralisation efforts” (Murray 8). And for the last two decades, American teenagers have prided themselves on being misunderstood, and have not been easily thwarted by moralise efforts.\r\nA mass culture trend has changed communication from the sincerity of face to face conversation to the simplicity of texting and Facebook. This has lead to a decrease in sentimentality and an attach in misunderstandings between people. Moral beliefs in effect(p) by preceding generations have also disappeared. Ethics such as chastity, verity and virtue have become frumpish and undesirable. The change in lyrics from conventional love ballads in the 1950’s to the focus on money and sexual prizes reflects the changes in port and schools of thought throughout the generations.\r\nLyrical subterfuge The lyrics found in any genre of music allures the emotions of the listener (Krumhans 45). Martina McBride’s pop hit â€Å"Concrete A ngel” is a fantastic example of emotion correlating with song lyrics. The heart-wrenching song tells the story of an little young lady who is killed because of physical abuse in her home. The utter reads, â€Å"Through the wind and the rain she stands hard as a stone/ In a world that she can’t rise above/ simply her dreams give her wings and she flies to a place/ Where she’s loved/ Concrete Angel. Though the melody, key, tension or dynamics help create an emotional state throughout this song, the lyrics were what made this song so emotionally powerful. â€Å"Concrete Angel” acquires its emotional substance through the association of take downts that the general earshot can relate too. Though the majority of the listeners exit not have experience physical abuse first hand, they can sympathize because they are aware of the emotional, physical and mental damage violence incurs. Musicians know of the power lyrics hold.\r\nLyrics can tell stories that make hearts melt, enlighten schools of thought neer explored before, or create strong physical reactions. But lyrics that the majority of the public can relate to, sell better. This is the reason wherefore the general themes songs have expressed have changed so dramatically over the last sixty years. The teenagers in 1950 were just starting to experience economic prosperity and free love. To listen to music completely revolving or so money and sex would be overlap a line they hadn’t invented yet.\r\nAnd the youth in 2010 will not easily relate to ballads focused around travel in love with that one person because close are not spirit for one person to love. Both the love-bound lyrics of the 1950’s and the materialistic lyrics of pop songs today accurately reflect the culture they predominate. Rhythm ‘n’ Blues Several other factors influence what makes cultural music popular. Lyrics must be in a proper gang of rhythm, harmony, key, dissonance, tensi on and dynamics for a song to reach it’s full potential. regular the untrained ear can discover feelings associated with the mode of the piece.\r\nMajor, nimble abused songs are associated with clever feelings while minor, slow, soft songs are tally with sad feelings. Dissonant, unstable, tense songs often call on the carpet feelings of fear. These feelings can all be face without powerful lyrics. Much of the world’s music is instrumental, and most of these create powerful emotion in the listener (Krumahns 48). So which musical factors specifically influenced popular music in the 1950’s and today? The go beats found in most rock ‘n’ roll pieces created a powerful sound teenagers revolved around.\r\nThe jolting rhythms, instability of sound and rockin’ dance moves associated with rock ‘n’ roll all helped join on its popularity. Popular music today features unbendable paced songs with mechanical sounds in the background . Songs incorporate an unreasonable amount of row per second, often release the listener wondering what they just heard. In the new hit single â€Å"Love Like Woe,” the listener hears, â€Å"Cause I got some intuition/ Or peradventure I’m superstitious/ But I think you’re a pretty sweet pill that I’m swallowing down/ To counter this habituation/ You’ve got me on a mission/ ensure me darling, can I get a break somehow? Could I put no? ,” all in a mere ten seconds.\r\nThe fast pace of songs are easily correlated with the fast pace of teenagers lives today. Teenagers are expected to excel in school, extracurriculars, athletics, music, and family life all at the same time. Pop music is fork away from traditional instruments to a more machine base background. The popular song â€Å"Like a g6” even goes as far as making the chorus voices sound computerized. Classical music wait has severely declined and sounds symbolizing a mech anical, over the top life, have taken control of the musical industry. The Ensemble\r\nMusical pick is very much behavioral. In the words of Simon V. Anderson, â€Å"If music educators did not believe that musical druthers is socially conditioned. . . They would not work in the public classrooms at all, but rather, they would spend their time and energy in the science laboratories searching for the virus . . . that impairs musical judgment” (39). Popular music preference has much to do with the language, values and beliefs of the teenagers place of popular culture. Trendy music will be the music that teenagers can relate to and create for them the feelings they desire.\r\nMusic choice however also reflects how the music makes one feel while listening to it. Popular songs in 1950 and 2010 reflect the culture they predominate through the general theme of lyrics and background noises. In each culture, music has been a favored form of expression and creates emotion based on wh at the culture wants. As even now, popular culture changes from liking bell bottoms to skinny jeans and back again, pop music changes with it to accurately reflect the culture it has been root upon.\r\n'