• 29/06/2022
• By wizewebsite
• 609 Views

Why are there no refrains in pop anymore • Respect<

Digitization has changed not only how, where and when we listen to music.She also transformed the music itself.The fascinating interactive material was prepared by Nate Sloan and Charlie Harding for The New York Times, showing how pop hits have changed over the past sixty years.Shortening of footage, fewer refrains or no refrains at all, the place of which the so -called hooky or drops board.

“Since the 1960s, popular music has been mostly a form, which is also a business and our ears known as a stanza-refrene: the stanza will establish a mood, will build tensions and the chorus will bring the culmination.Then the wheel starts Nanovo: stanza, preferen, chorus.It is a fun, albeit easily predictable roller coaster on which we have been driving for decades, ”writes the authors, saying that according to comparative research conducted by music theorist Jay Summach, 42 percent of hits at the end of the sixties, but at the endIt was twice the 1980s.

https://www.youtube.com/watch?v=K2qgadsvnyu

But a sharp change has occurred in the past decade, when songs outside the radio ether turned into five -second memes, 15 -second soundtracks for tiktoku videos, half -minute advertising, or two -and -a -half -minute club bars.Looking at the structure of recent hits by Billie Eilish, Dua Lipa, Travise Scott, Taylor Swift or Bad Bunny shows that the chorus is slow, instead of what is called "Hook" - a short, recurring and memorizing section,that hooks and catches the listener.It's not an explosion like a chorus at Whitney Houston or Mariah Carey, but rather riff, music phrases or a few words.

Emily Warren, the author of the hits for the duo Lipu, explains that "previously pop was direct, huge and with large refrains".The change that came, however, has the roots in another social function of the song: “The word chorus (Chorus) itself indicates collective choral singing, while Hook is designed to drill into the listener's ear and forced it to play it again and again - which isThe method that serves the economy of streaming. ”It also works according to the rules that if the listener jumps the song earlier than in the first thirty seconds, the artist will not be paid for playing.So everyone is trying not to bore and bring all the trumps at the beginning.

He writes about the music that sounds across the Proust search for lost time in the current issue of The New Yorker Alex Ross.He noticing two current recordings, which compose a concert that Proust organized in July 1907 and mixed the repertoire from the Baroque time, Classicism and Romanticism.There were randomly Fauré, Beethoven, Schumann, Chopin or Wagner - and as Ross states, this event "illustrates the perfect taste of one of the music of literary history writers".

Ross speaks of the Albu Music Form Proust's Salons Cellista Steven Isserlis and Piano Connie Shah, as well as the Proust, Le Concert Retrouvé, where young French musicians, violinist Théotime Langlois and pianist thongy de Williencourt.

https://www.youtube.com/watch?v=sy5svapuu

The first appointment was recorded by the works of Proust's contemporaries who moved in similar social circles, the second pair created an almost complete replica of the repertoire that was heard on the July evening in the Paris Ritz.So they play according to the playlist, who later gave rise to the search for lost time.

Ross notes: “Proust was not only an attentive listener, but also a close observer of other listeners.His characters were revealed with the sounds of music. ”At the end, Ross adds that Proust also had his sentimental side, and therefore wrote his defense of“ bad music ” - which plays an important and vital role in the social preivament.It does not matter so much of its inner quality as the emotional resonance, which is about how it "dances over time".

In 1800, a decree was issued in Paris, which forbade women to wear pants in public.Writer George Sand resisted the order in her time by putting on male clothes and walking freely through the streets.And as soon as she dressed in her gray wool clothing and shoes, she felt safe on the sidewalks.“I flew from one end of Paris to the other.It seemed to me that I could make a way around the world… No one knew me, no one wondered me, no one thought something was wrong with me.I was atom dissolved in the crowd, ”she described her experiences from urban wanderings in her memoirs.

https://www.youtube.com/watch?v=sgdchgzrs4w

This scene begins with the text and brief History of Women Street Photographers by Melissa Breyer published on the Lithub server.At the same time, it comes from the current photographic publication Women Street Photographers, which is dedicated to the solitaire of the photo industry, who managed to put some of the gender roles on the head.Not only when it comes to the profession of a photographer, but also in terms of the way the woman moves in public space.And although George Sand was not a photographer, but a writer, she's freedom and invisibility that she had secured her male clothing at the time, she and later women go to the streets with the camera.

Breyer reminds, for example, the story of not so famous American Alice Austen, who in 1876 - when she was ten - received a camera from her uncle and took over seven thousand films over the next fifty years.An enthusiastic cyclist was passing through the area with a heavy load of equipment and looking for ideas for her photos: “She photographed anything and anyone who was just a little interesting: from Staten Island's cream through street sweepers, garter sellers, postmen and police officers to fish, shoes or cleaners or shoes orGirls from Lower Manhattan. ”And what she did, heralded the" Street Photography "discipline before the invention of small portable devices.