Baroque pop

In classical music, the term “ baroque ” is used to describe European academic music between about 1600 and 1750, with its most prominent composers like Bach or Vivaldi . ^[7] Most baroque pop musical instruments are akin to late baroque or early classicism . ^[8]

Stylistically, baroque pop combines elements of rock with classical music, often including the multi-layered harmonies of string and wind instruments, to achieve a majestic orchestral sound. ^[2] Its distinguishing feature is the use of counterpoint and tonal harmonies . ^[1] It can be seen as a more serious and mature offspring of rock music. ^[2] Journalist Bob Stanley used the term "English baroque" to describe a number of artists that existed between 1968 and 1973. ^{[5] The} music of the related Tea & Symphony: The English Baroque Sound 1967-1974 (2007), according to critic Steven Thomas Erlevine , is inspired by artists like Paul McCartney , The Zombies and Gilbert O'Sullivan . ^[9]

Prerequisites (early 1960s)

Beginning in the 1960s, musicians and pop producers such as Phil Spector and Brian Wilson of The Beach Boys have brought harpsichord to the forefront of arrangements. ^[3] Harpsichords were widely available in recording studios , they were used in popular music before, since the 1940s, but this was not widely publicized until the 1960s. ^[3] One of the first pop rock hits to play harpsichord was the single “The Summertime, Summertime” (1958) by The Jamies . ^{[10] The} singles “ I Get Around ” (1964) and “ When I Grow Up (To Be a Man) ” (1965) by The Beach Boys , the single “ You've Lost That Lovin 'Feelin' ” (1964) were later The Righteous Brothers and the single Monday, Monday (1966) by The Mamas & the Papas . ^[3] Reporter Matthew Guerriri of The Boston Globe suggested that the harpsichord could be in demand because of its catchy, vibrant timbre , matching the "extremely high-frequency sound landscape of pop music." ^[3] In the 1960s, most recordings were monophonic , and AM radio was the dominant form of musical consumption. ^[3]

Slate journalist Forrest Wickman noted Brian Wilson and The Beatles producer George Martin as the “most responsible” for the appearance of the baroque pop. ^[11] Phil Spector, like Bert Bakarak , combined pop and classical music before rock music was added to them. ^[12] Author Andrew Jackson wrote that the “baroque pop era,” in which “rock combined with elements of classical music,” was preceded by the song “ The Rolling Stones ” (1965) of The Rolling Stones and the album The Beach Boys Today! (1965, producer Brian Wilson) of The Beach Boys . ^[12] Author Bob Gendron argues that, rather than suggesting that The Beatles themselves provoked a connection between their music and elements of classical music, it is more likely that this was the result of various covers of classical and baroque music, such as for example, The Baroque Beatles Book (1965). ^[13] The Beatles only benefited from the skill of George Martin, who played the baroque solo on the harpsichord in the song “ In My Life ”, released on Rubber Soul (1965). ^[14] However, it was actually a piano taped at half speed. ^[10] The author, Joe Harrington, noted that after the release of this song, many Baroque-rock records appeared. ^[14] Producer Tommy LiPuma believes that "as soon as The Beatles demonstrated the harpsichord sound in the song" In My Life ", pop producers begin to aspire to it." ^[10]

Origin (mid-late 1960s)

The genre has appeared both in the United States and in the UK. ^[1] By the beginning of 1966, various groups began to use instruments of baroque and classical music, the movement author Bob Gendron called the term "baroque rock". ^[15] The single “ She's Not There ” (1964) by The Zombies marked the beginning of British Baroque pop. Journalist Bob Stanley explains that this single “does not include any oboes, but it sounds pretty dramatic for 1964, the year“ You Really Got Me “( The Kinks ) and“ Little Red Rooster “( The Rolling Stones ).” ^[5] He inspired musician Michael Brown to create the band The Left Banke , whose single “ Walk Away Renée ” (1966), Stanley considers the first recognizable single of the Baroque pop. ^[5] Reporter Matthew Guerriery writes that Walk Away Renée in the UK "paved the way from rock to psychedelia for many bands: The Beatles , The Rolling Stones , The Zombies , The Kinks ." ^[3]

As an example of “baroque rock,” Gendron cites “Walk Away Renée” (1966) from The Left Banke , “Sunday Will Never Be the Same” (1967) from Spanky and Our Gang , “Different Drum” (1967) from Stone Poneys - Harpsichord and strings are used in all these singles. ^{[16] The} following are the Lady Jane (1966, harpsichord and cymbals ) of The Rolling Stones , and Rain on the Roof (1967, harpsichord-like guitars) of The Lovin 'Spoonful . ^[16] Among the orchestral arrangements from The Beach Boys' Pet Sounds (1966) album , God Only Knows was recognized by The Sydney Morning Herald as an “exquisite baroque pop” ^[17] , while journalist Jim Beckerman of The Record called this song "baroque rock" with "retro instruments and elegant harmonies," as in A Whiter Shade of Pale (1967) by Procol Harum and Eleanor Rigby (1966) by The Beatles . ^[eighteen]

Stanley singled out a number of baroque pop artists, whom he called “English Baroque”, imitating the sound of The Zombies' Odessey and Oracle (1968) album, Paul McCartney’s contribution to The Beatles (1968), the single “I Can't Let Maggie Go "(1968) by Honeybus , Scott Walker's chambers-pop , and the vocal harmonies of Crosby, Stills & Nash . ^[5] Stanley believes that this “lost corner of the history of pop music” culminated on Sgt's album . The Beatles' Pepper's Lonely Hearts Club Band (1967), "which mixed everyday lyrics with the music hall and the Edwardian era , creating lysergin-reinforced chamber music." A year later, "the prevailing trend will be more hairy, heavier, more talkative." The English Baroque survived over the next few years, while recording studios sought to capitalize on the growing movement of performers by offering generous string arrangements to previously unknown performers, such as Nick Drake . ^[5]

Scattering and rebirth (1970s - present)

The "eccentricity" of the baroque pop, as well as the use of violins and classical guitars became objects of parodies at the end of the psychedelic era. ^[19] In the 1990s, chambers pop appeared , a genre similar in spirit to the Baroque pop, which is characterized by orchestral arrangements, or compositions in the classical style. As a rule, its occurrence is associated with indie , and contrasted with the low-fi approach, widespread at that time. ^[6] Between the 1990s and 2010s, baroque pop was revived by bands such as The Divine Comedy . ^[one]

Among the representatives of the baroque pop Allmusic portal distinguishes Bee Gees , Burt Bacharach , Serge Gainsbourg , Lee Hazlewood , The Walker Brothers , Scott Walker , Van Dyke Parks , Hello People , Jane Birkin , Love , The Association and others ^[2] .