Orchestral pop
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| - | '''Shibuya-kei''' is a [[microgenre]] of [[pop music]] or a general aesthetic that flourished in the mid to late 1990s. Emerging as Japanese retail music from the [[Shibuya, Tokyo|Shibuya]] district of [[Tokyo]], artists purveyed a cut-and-paste style that was inspired by previous genres based on [[kitsch]], fusion, and [[artifice]]. Shibuya-kei inherited musical characteristics from earlier 1980s Japanese [[city pop]], while incorporating strong influences from 1960s culture and Western pop music, especially the orchestral domains occupied by producers [[Burt Bacharach]], [[Brian Wilson]], [[Phil Spector]], and singer [[Serge Gainsbourg]]. | + | '''Orchestral pop''' is [[popular music]] that has been arranged and performed by a [[symphonic orchestra]]. |
| - | Unlike other Japanese music scenes, Western audiences did not necessarily cross over into [[anime fandom]]s, but rather [[indie pop]] enthusiasts. This was partly because many of its bands were distributed in the United States through major [[indie label]]s like [[Matador Records|Matador]] and [[Grand Royal Records|Grand Royal]]. [[Flipper's Guitar]], a duo led by [[Kenji Ozawa]] and [[Keigo Oyamada]] (Cornelius), formed the bedrock of the genre and influenced all of its groups, but the most prominent Shibuya-kei band was [[Pizzicato Five]], who fused mainstream [[J-pop]] with a mix of [[jazz]], [[soul music|soul]], and lounge influences. Shibuya-kei peaked in the late 1990s and declined after its principal players began moving into other music styles. | + | ==History== |
| + | During the 1960s, [[pop music]] on radio and in both American and British film moved away from refined [[Tin Pan Alley]] to more eccentric songwriting and incorporated reverb-drenched [[rock music|rock]] guitar, symphonic strings, and horns played by groups of properly arranged and rehearsed studio musicians. Many pop arrangers and producers worked orchestral pop into their artists' releases, including [[George Martin]] and his strings arrangements with [[the Beatles]], and [[John Barry (composer)|John Barry]] for his scores to the [[James Bond films]].{{sfn|Lanza et al.|2008|p=167}} Also in the 1960s, a number of orchestral settings were made for songs written by the Beatles, including symphonic performances of "[[Yesterday (Beatles song)|Yesterday]]" by orchestras. Some symphonies were specifically founded for playing predominantly popular music, such as the [[Boston Pops Orchestra]]. [[Nick Perito]] was one of orchestral pop's most accomplished{{according to whom|date=May 2016}} arrangers, composers, and conductors.{{sfn|Lanza|1994|p=230}} | ||
| - | It has its origins in [[pop]], [[indie pop]], [[city pop]], [[orchestral pop]], [[soul]], [[lounge]], [[French pop]], [[sunshine pop]], [[yé-yé]], [[hip hop]], [[house]], [[jazz]], [[funk]], [[bossa nova]] and [[Italian soundtracks]]. | + | According to [[Chris Nickson]], the "vital orchestral pop of 1966" was "challenging, rather than vapid, easy listening". ''[[Spin (magazine)|Spin]]'' magazine refers to [[Burt Bacharach]] and the Beach Boys' [[Brian Wilson]] as "gods" of orchestral pop. In Nickson's opinion, the "apex" of orchestral pop lay in singer [[Scott Walker (singer)|Scott Walker]], explaining that "in his most fertile period, 1967–70, he created a body of work that was, in its own way, as revolutionary as the Beatles'. He took the ideas of [[Henry Mancini|[Henry] Mancini]] and Bacharach to their logical conclusion, essentially redefining the concept of orchestral pop." |
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| - | ==See also== | + | |
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| - | *[[Art pop]] | + | |
| - | *[[Remix culture]] | + | |
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Revision as of 19:24, 11 April 2020
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Orchestral pop is popular music that has been arranged and performed by a symphonic orchestra.
History
During the 1960s, pop music on radio and in both American and British film moved away from refined Tin Pan Alley to more eccentric songwriting and incorporated reverb-drenched rock guitar, symphonic strings, and horns played by groups of properly arranged and rehearsed studio musicians. Many pop arrangers and producers worked orchestral pop into their artists' releases, including George Martin and his strings arrangements with the Beatles, and John Barry for his scores to the James Bond films.Template:Sfn Also in the 1960s, a number of orchestral settings were made for songs written by the Beatles, including symphonic performances of "Yesterday" by orchestras. Some symphonies were specifically founded for playing predominantly popular music, such as the Boston Pops Orchestra. Nick Perito was one of orchestral pop's most accomplishedTemplate:According to whom arrangers, composers, and conductors.Template:Sfn
According to Chris Nickson, the "vital orchestral pop of 1966" was "challenging, rather than vapid, easy listening". Spin magazine refers to Burt Bacharach and the Beach Boys' Brian Wilson as "gods" of orchestral pop. In Nickson's opinion, the "apex" of orchestral pop lay in singer Scott Walker, explaining that "in his most fertile period, 1967–70, he created a body of work that was, in its own way, as revolutionary as the Beatles'. He took the ideas of [Henry] Mancini and Bacharach to their logical conclusion, essentially redefining the concept of orchestral pop."
