Editing Rock music (section)

==Characteristics==
{{quote box|quoted=1|quote=A good definition of rock, in fact, is that it's popular music that to a certain degree doesn't care if it's popular.|source=—[[Bill Wyman]], bass guitarist for [[The Rolling Stones]], in ''[[Vulture.com|Vulture]]'', December 2016<ref name="wymanberry">{{cite web |url=http://www.vulture.com/2016/12/chuck-berry-invented-the-idea-of-rock-and-roll.html |date=20 December 2016 <!-- March 18, 2017 ?! update? field for it? --> |title=Chuck Berry Invented the Idea of Rock and Roll |work=[[Vulture.com]] |publisher=New York Media, LLC |author-link=Bill Wyman |last=Wyman |first=Bill |access-date=19 March 2017 |archive-date=11 March 2021 |archive-url=https://web.archive.org/web/20210311040424/https://www.vulture.com/2016/12/chuck-berry-invented-the-idea-of-rock-and-roll.html |url-status=live }}</ref>|width=18%|align=left|style=padding:8px;}}
[[File:Rhcp-live-pinkpop05.jpg|thumb|alt=A photograph of four members of the Red Hot Chili Peppers performing on a stage|The quartet of the rock band [[Red Hot Chili Peppers]] at the [[Pinkpop Festival]] in June 2006, including (left to right), bassist [[Flea (musician)|Flea]], lead vocalist [[Anthony Kiedis]], drummer [[Chad Smith]], and guitarist [[John Frusciante]]]]
The sound of rock is traditionally centered on the [[guitar amplifier|amplified]] electric guitar, which emerged in its modern form in the 1950s with the popularity of rock and roll.<ref>J.M. Curtis, ''[[iarchive:rockerasinterpre00curt|Rock Eras: Interpretations of Music and Society, 1954–1984]]'' (Madison, WI: Popular Press, 1987), {{ISBN|0-87972-369-6}}, pp.&nbsp;68–73.</ref> It was also greatly influenced by the sounds of [[electric blues]] guitarists.<ref name="campbell">{{cite book |last1=Campbell |first1=Michael |url=https://archive.org/details/rockrollintroduc0000camp_l2w5 |title=Rock and Roll: An Introduction |last2=Brody |first2=James |publisher=Thomson Schirmer |year=2007 |isbn=978-0-534-64295-2 |edition=2nd |location=Belmont, CA |pages=[https://books.google.com/books?id=RK-JmVbv4OIC&pg=PA80 80–81] |url-access=registration}}</ref> The sound of an electric guitar in rock music is typically supported by an electric bass guitar, which pioneered jazz music in the same era,<ref>R.C. Brewer, "Bass Guitar" in {{harvnb|Shepherd|2003}}, p&nbsp;56.</ref> and by percussion produced from a drum kit that combines drums and cymbals.<ref>R. Mattingly, "Drum Set" in {{harvnb|Shepherd|2003}}, p&nbsp;361.</ref> This trio of instruments has often been complemented by the inclusion of other instruments, particularly keyboards such as the piano, the [[Hammond organ]], and the synthesizer.<ref>P. Théberge, ''[[iarchive:anysoundyoucanim0000theb|Any Sound you can Imagine: Making Music/Consuming Technology]]'' (Middletown, CT, Wesleyan University Press, 1997), {{ISBN|0-8195-6309-9}}, pp.&nbsp;69–70.</ref> The basic rock instrumentation was derived from the basic [[blues]] band instrumentation (prominent lead guitar, second chordal instrument, bass, and drums).<ref name=campbell/> A group of musicians performing rock music is termed as a rock band or a rock group. Furthermore, it typically consists of between three (the [[power trio]]) and five members. Classically, a rock band takes the form of a [[quartet]] whose members cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist, drummer, and often [[keyboard player]] or another instrumentalist.<ref>D. Laing, "Quartet" in {{harvnb|Shepherd|2003}}, p&nbsp;56.</ref>

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Rock music is traditionally built on a foundation of simple syncopated rhythms in a {{music|time|4|4}} [[Meter (music)|meter]], with a repetitive snare drum [[Backbeat (music)|back beat]] on beats two and four.<ref name=Ammer2004>C. Ammer, ''The Facts on File Dictionary of Music'' (New York: Infobase, 4th edn., 2004), {{ISBN|0-8160-5266-2}}, pp.&nbsp;251–52.</ref> Melodies often originate from older [[musical modes]] such as the [[Dorian mode|Dorian]] and [[Mixolydian]], as well as [[Major scale|major]] and [[Minor mode|minor]] modes. Harmonies range from the common [[Triad (music)|triad]] to parallel [[perfect fourth]]s and [[Perfect fifth|fifths]] and dissonant harmonic progressions.<ref name=Ammer2004/> Since the late 1950s,<ref>{{harvnb|Campbell|Brody|2007|p=[https://books.google.com/books?id=RK-JmVbv4OIC&pg=PA117 117]}}</ref> and particularly from the mid-1960s onwards, rock music often used the [[Verse-chorus form|verse–chorus structure]] derived from blues and folk music, but there has been considerable variation from this model.<ref>J. Covach, "From craft to art: formal structure in the music of the Beatles", in K. Womack and Todd F. Davis, eds, ''[[iarchive:readingbeatlescu0000unse|Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four]]'' (New York: SUNY Press, 2006), {{ISBN|0-7914-6715-5}}, p. 40.</ref> Critics have stressed the eclecticism and stylistic diversity of rock.<ref>T. Gracyk, ''Rhythm and Noise: an Aesthetics of Rock'', (London: I.B. Tauris, 1996), {{ISBN|1-86064-090-7}}, p. xi.</ref> Because of its complex history and its tendency to borrow from other musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition."<ref>P. Wicke, ''[[iarchive:isbn 9780521399142|Rock Music: Culture, Aesthetics and Sociology]]'' (Cambridge: Cambridge University Press, 1990), {{ISBN|0-521-39914-9}}, p. x.</ref> In 1981, music journalist [[Robert Christgau]] said, "the best rock jolts [[folk arts|folk-art]] virtues—directness, utility, natural audience—into the present with shots of modern technology and [[modernist]] [[dissociation (rhetoric)|dissociation]]".<ref name="CG2">{{cite book|last=Christgau|first=Robert|author-link=Robert Christgau|year=1981|title=[[Christgau's Record Guide: Rock Albums of the Seventies]]|publisher=[[Ticknor & Fields]]|isbn=0-89919-025-1|chapter=Genesis: Selling England by the Pound|chapter-url=https://www.robertchristgau.com/get_album.php?id=6904|via=robertchristgau.com|access-date=16 October 2021|archive-date=6 April 2023|archive-url=https://web.archive.org/web/20230406133523/https://www.robertchristgau.com/get_album.php?id=6904|url-status=live}}</ref>

{{quote box|quoted=1|quote=Rock and roll was conceived as an outlet for adolescent yearnings ... To make rock and roll is also an ideal way to explore [[intersectionality|intersections]] of sex, love, violence, and fun, to broadcast the delights and limitations of [[Cultural area|the regional]], and to deal with the depredations and benefits of [[mass culture]] itself.|source=—Rock music critic [[Robert Christgau]] in ''[[Christgau's Record Guide: Rock Albums of the Seventies|Christgau's Record Guide]]'' in 1981<ref name="CG">{{cite book|last=Christgau|first=Robert|author-link=Robert Christgau|year=1981|title=[[Christgau's Record Guide: Rock Albums of the Seventies]]|publisher=[[Ticknor & Fields]]|isbn=0-89919-025-1|chapter=The Decade|chapter-url=https://www.robertchristgau.com/xg/bk-cg70/decade.php|via=robertchristgau.com|access-date=April 6, 2019|archive-date=2 April 2019|archive-url=https://web.archive.org/web/20190402183403/http://www.robertchristgau.com/xg/bk-cg70/decade.php|url-status=live}}</ref>|width=18%|align=left|style=padding:8px;}}
Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes, including romantic love, sex, rebellion against "[[The Establishment]]", social concerns, and life styles.<ref name=Ammer2004/> These themes were inherited from a variety of sources such as the [[Tin Pan Alley]] pop tradition, [[folk music]], and [[rhythm and blues]].<ref>{{cite book|last=Farber |first=Barry A. |title=Rock 'n' roll Wisdom: What Psychologically Astute Lyrics Teach About Life and Love |year=2007 |publisher=Praeger |location=Westport, CT |isbn=978-0-275-99164-7 |pages=xxvi–xxviii}}</ref> Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, and asserts that rock's primary "function" "pertains to music, or, more generally, [[noise in music|noise]]."<ref>{{cite book|author=[[Robert Christgau|Christgau, Robert]]|editor-last=McKeen|editor-first=William|editor-link=William McKeen|year= 2000|url=https://archive.org/details/rockrollishereto00mcke|url-access=registration|title=Rock & Roll Is Here to Stay: An Anthology|publisher=[[W.W. Norton & Company]]|pages=[https://archive.org/details/rockrollishereto00mcke/page/564 564]–65, 567|isbn=0-393-04700-8|display-authors=etal}}</ref> The predominance of white, male, and often middle class musicians in rock music has often been noted,<ref>{{cite book |last=McDonald |first=Chris |url=https://archive.org/details/rushrockmusicmid0000mcdo |title=Rush, Rock Music and the Middle Class: Dreaming in Middletown |publisher=Indiana University Press |year=2009 |isbn=978-0-253-35408-2 |location=Bloomington, IN |pages=108–09 |url-access=registration}}</ref> and rock has been seen as an appropriation of Black musical forms for a young, white and largely male audience.<ref>S. Waksman, ''[[iarchive:instrumentsofdes00waks|Instruments of Desire: the Electric Guitar and the Shaping of Musical Experience]]'' (Cambridge, MA: Harvard University Press, 2001), {{ISBN|0-674-00547-3}}, p. 176.</ref> As a result, it has also been seen to articulate the concerns of this group in both style and lyrics.<ref>{{cite book |last=Frith |first=Simon |url=https://books.google.com/books?id=ZFBUsDpDTx4C&pg=PA43 |title=Taking Popular Music Seriously: Selected Essays |publisher=Ashgate Publishing |year=2007 |isbn=978-0-7546-2679-4 |location=Aldershot, England |pages=43–44 |access-date=27 March 2023 |archive-date=6 April 2023 |archive-url=https://web.archive.org/web/20230406133524/https://books.google.com/books?id=ZFBUsDpDTx4C&pg=PA43 |url-status=live }}</ref> Christgau, writing in 1972, said in spite of some exceptions, "rock and roll usually implies an identification of male sexuality and aggression".<ref>{{cite news|last=Christgau|first=Robert|date=11 June 1972|url=https://www.robertchristgau.com/xg/news/nd720611.php|title=Tuning Out, Tuning In, Turning On|newspaper=[[Newsday]]|access-date=17 March 2017|archive-date=20 September 2023|archive-url=https://web.archive.org/web/20230920172557/https://www.robertchristgau.com/xg/news/nd720611.php|url-status=live}}</ref>

Since the term "rock" started being used in preference to "rock and roll" from the late 1960s, it has usually been contrasted with pop music, with which it has shared many characteristics; however, rock is often distanced from pop; the former has an emphasis on musicianship, live performance, and a focus on serious and progressive themes as part of an ideology of [[Authenticity (philosophy)|authenticity]] that is frequently combined with an awareness of the genre's history and development.<ref name="Warner2003">T. Warner, ''[[iarchive:popmusictechnolo0000warn|Pop Music: Technology and Creativity: Trevor Horn and the Digital Revolution]]'' (Aldershot: Ashgate, 2003), {{ISBN|0-7546-3132-X}}, pp.&nbsp;3–4.</ref> According to [[Simon Frith]], rock was "something more than pop, something more than rock and roll" and "[r]ock musicians combined an emphasis on skill and technique with the romantic concept of art as artistic expression, original and sincere".<ref name=Warner2003/>

In the new millennium, the term ''rock'' has occasionally been used as a [[blanket term]] including forms like pop music, [[reggae music]], [[soul music]], and even [[hip hop]], which it has been influenced with but often contrasted through much of the latter's history.<ref>R. Beebe, D. Fulbrook and B. Saunders, "Introduction" in R. Beebe, D. Fulbrook, B. Saunders, eds, ''[[iarchive:rockoveredgetran0000unse|Rock Over the Edge: Transformations in Popular Music Culture]]'' (Durham, NC: Duke University Press, 2002), {{ISBN|0-8223-2900-X}}, p. 7.</ref> Christgau has used the term broadly to refer to popular and [[semipopular music]] that caters to his sensibility as "a rock-and-roller", including a fondness for a good beat, a meaningful lyric with some wit, and the theme of youth, which holds an "eternal attraction" so objective "that all youth music partakes of sociology and the [[field research|field report]]." Writing in ''[[Christgau's Record Guide: The '80s]]'' (1990), he said this sensibility is evident in the music of folk singer-songwriter [[Michelle Shocked]], rapper [[LL Cool J]], and synth-pop duo [[Pet Shop Boys]]—"all kids working out their identities"—as much as it is in the music of [[Chuck Berry]], the [[Ramones]], and [[The Replacements (band)|the Replacements]].<ref name="CG80s">{{cite book |first= Robert |last= Christgau |author-link= Robert Christgau |year= 1990 |title= [[Christgau's Record Guide: The '80s]] |publisher= [[Pantheon Books]] |isbn= 0-679-73015-X |chapter= Introduction: Canons and Listening Lists |chapter-url= https://www.robertchristgau.com/xg/bk-cg80/in_canons.php |access-date= 6 April 2019 |archive-date= 9 July 2023 |archive-url= https://web.archive.org/web/20230709172403/https://www.robertchristgau.com/xg/bk-cg80/in_canons.php |url-status= live }}</ref>