• The Bricklayers Song Download

Jan 6, 2007 - 4 minThe Bricklayers Song. About; Download Video; Embed Video; Comments. 11 years ago 1, 380. Aristophanes' “Women In Parliament” - also known as “The Assembly Women” κκλησιάζουσαι. Written 390BCE. Translated by G.

A brick hod is a three-sided box for carrying bricks or other building materials, often mortar. It bears a long handle and is carried over the shoulder. A hod is usually long enough to accept 4 bricks on their side, however, by arranging the bricks in a chevron fashion, the number of bricks that may be carried is only limited to the weight the labourer can bear and the unwieldiness of that load. Typically, ten to twelve bricks might be carried.^[1][2]

Hod carrying is a labouring occupation in the building industry. Typically the hod carrier or hoddie will be employed by a bricklaying team in a supporting role to the bricklayers. Two bricklayers for each hod carrier is typical. A hoddie's duties might include wetting the mortar boards on the scaffolding, prior to fetching bricks from the delivery pallet using his hod and bringing them to 2x2 wide 'stacks' upon the scaffold that may then be easily laid by the bricklayers. The carrier should plan the deliveries of bricks with deliveries of mortar—also carried in the hod—to ensure the bricklayers can maintain a constant work rate. At sites without premixed mortar, the mortar will also be mixed by the hod carrier. Bricks may be cut and assistance given to 'rake out' the mortar joints, if that coursing joint form is required, or in re-pointing work. The baseline rate for a bricklayer is to lay 1,000 bricks a day;^{[citation needed]} if the hod carrier is serving a team of two then he must move 2,000 bricks although it is not uncommon for experienced hod carriers to serve three bricklayers. The World Record for moving 500 bricks by hod is 12 minutes and was set by John Logan, age 46, on 12 February 2011.^{[citation needed]}

Song references[edit]

• In the song Never Any Good, Martin Simpson describes his father as 'not steady enough for the office, not hard enough for the hod.'
• In the Irish folk song 'Finnegan's Wake,' the line '..to rise in the world he carried a hod,' suggests that Tim Finnegan worked as a hod carrier.
• In the song 'The Sick Note' by Pat Cooksey (performed by many), the narrator of the song is told to cart a load of bricks down fourteen floors 'in me hod.'^[3]
• The song 'Seven Days of the Week' by Ewan MacColl and Peggy Seeger mentions 'the poor old sod who'd built the world and carried the hod.'
• In the song 'McAlpine's Fusiliers' it says of Sir Robert McAlpine, '..McAlpine's God is a well-filled hod.'
• In the song 'Missing You' by Jimmy MacCarthy has the line 'Your best mate’s a spade and he carries a hod'^[4]

Notes[edit]

1. ^'Archived Document'. Archived from the original on 2011-07-17. Retrieved 2007-11-06.
2. ^'Search - Search for 'hod carrier''. Jamd. Retrieved 2009-04-20.
3. ^Pat Cooksey. 'PAT COOKSEY - The Sick Note Lyric'. patcooksey.com.
4. ^'Missing You - Christy Moore'. Christy Moore.

References[edit]

• 'Bricklayers and Stonemasons' in the Occupational Outlook Handbook. (1998–1999)

Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid-1950s.^[4] The terms 'popular music' and 'pop music' are often used interchangeably, although the former describes all music that is popular and includes many diverse styles. 'Pop' and 'rock' were roughly synonymous terms until the late 1960s, when they became increasingly differentiated from each other.

Although much of the music that appears on record charts is seen as pop music, the genre is distinguished from chart music. Pop music is eclectic, and often borrows elements from other styles such as urban, dance, rock, Latin, and country; nonetheless, there are core elements that define pop music. Identifying factors include generally short to medium-length songs written in a basic format (often the verse-chorus structure), as well as common use of repeated choruses, melodic tunes, and hooks.

• 3Development and influence

Definitions and etymology[edit]

David Hatch and Stephen Millward define pop music as 'a body of music which is distinguishable from popular, jazz, and folk musics'.^[5]According to Pete Seeger, pop music is 'professional music which draws upon both folk music and fine arts music'.^[3]Although pop music is seen as just the singles charts, it is not the sum of all chart music. The music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. As a genre, pop music is seen to exist and develop separately.^[6] Therefore, the term 'pop music' may be used to describe a distinct genre, designed to appeal to all, often characterized as 'instant singles-based music aimed at teenagers' in contrast to rock music as 'album-based music for adults'.^[4][8]

Pop music continuously evolves along with the term's definition. According to music writer Bill Lamb, popular music is defined as 'the music since industrialization in the 1800s that is most in line with the tastes and interests of the urban middle class.'^[9] The term 'pop song' was first used in 1926, in the sense of a piece of music 'having popular appeal'.^[10] Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues, and hillbilly music.^[11]

According to the website of The New Grove Dictionary of Music and Musicians, the term 'pop music' 'originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced'.^[2]The Oxford Dictionary of Music states that while pop's 'earlier meaning meant concerts appealing to a wide audience [..] since the late 1950s, however, pop has had the special meaning of non-classical mus[ic], usually in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc.'^[12]Grove Music Online also states that '[..] in the early 1960s, [the term] 'pop music' competed terminologically with beat music [in England], while in the US its coverage overlapped (as it still does) with that of 'rock and roll'.^[2]

From about 1967, the term “pop music” was increasingly used in opposition to the term rock music, a division that gave generic significance to both terms.^[13] While rock aspired to authenticity and an expansion of the possibilities of popular music,^[13] pop was more commercial, ephemeral, and accessible.^[14] According to British musicologist Simon Frith, pop music is produced 'as a matter of enterprise not art', and is 'designed to appeal to everyone' but 'doesn't come from any particular place or mark off any particular taste'. Frith adds that it is 'not driven by any significant ambition except profit and commercial reward [..] and, in musical terms, it is essentially conservative'. It is, 'provided from on high (by record companies, radio programmers, and concert promoters) rather than being made from below .. Pop is not a do-it-yourself music but is professionally produced and packaged'.^[4]

Characteristics[edit]

According to Frith, characteristics of pop music include an aim of appealing to a general audience, rather than to a particular sub-culture or ideology, and an emphasis on craftsmanship rather than formal 'artistic' qualities.^[4] Music scholar Timothy Warner said it typically has an emphasis on recording, production, and technology, rather than live performance; a tendency to reflect existing trends rather than progressive developments; and aims to encourage dancing or uses dance-oriented rhythms.^[14]Jaime escalante math program elac college.

The main medium of pop music is the song, often between two and a half and three and a half minutes in length, generally marked by a consistent and noticeable rhythmic element, a mainstream style and a simple traditional structure.^[17] Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, and a chorus that contrasts melodically, rhythmically and harmonically with the verse.^[18] The beat and the melodies tend to be simple, with limited harmonic accompaniment.^[19] The lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions.^[4]

Harmony and chord progressions in pop music are often 'that of classical European tonality, only more simple-minded.'^[20] Clichés include the barbershop quartet-style harmony (i.e. ii – V – I) and blues scale-influenced harmony.^[21] There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominantfunction.^[22]

Development and influence[edit]

Technology and media[edit]

In the 1940s improved microphone design allowed a more intimate singing style and ten or twenty years later, inexpensive and more durable 45 rpm records for singles 'revolutionized the manner in which pop has been disseminated', which helped to move pop music to 'a record/radio/film star system'.^[24] Another technological change was the widespread availability of television in the 1950s; with televised performances, 'pop stars had to have a visual presence'.^[24] In the 1960s, the introduction of inexpensive, portable transistor radios meant that teenagers in the developed world could listen to music outside of the home.^[24] By the early 1980s, the promotion of pop music had been greatly affected by the rise of music television channels like MTV, which 'favoured those artists such as Michael Jackson and Madonna who had a strong visual appeal'.^[24]

Multi-track recording (from the 1960s); and digital sampling (from the 1980s) have also been utilized as methods for the creation and elaboration of pop music.^[4] During the mid-1960s, pop music made repeated forays into new sounds, styles, and techniques that inspired public discourse among its listeners. The word 'progressive' was frequently used, and it was thought that every song and single was to be a 'progression' from the last.^[25]Music criticSimon Reynolds writes that beginning with 1967, a divide would exist between 'progressive' pop and 'mass/chart' pop, a separation which was 'also, broadly, one between boys and girls, middle-class and working-class.'^[26]

The latter half of the 20th-century included a large-scale trend in American culture in which the boundaries between art and pop music were increasingly blurred.^[27] Between 1950 and 1970, there was a debate of pop versus art.^[28] Since then, certain music publications have embraced the music's legitimacy, a trend referred to as 'poptimism'.^[28]

The Bricklayers Song Download

Stylistic evolution[edit]

Throughout its development, pop music has absorbed influences from other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, and spoken passages from rap.^{[4][verification needed]} In 2016, a Scientific Reports study that examined over 464,000 recordings of popular music recorded between 1955 and 2010 found that since the 1960s, pop music had found less variety in pitch progressions, grown average loudness levels,^[29] less diverse instrumentation and recording techniques, and less timbral variety.^[30]Scientific American's John Matson reported that this 'seems to support the popular anecdotal observation that pop music of yore was 'better', or at least more varied, than today’s top-40 stuff'. However, he also noted that the study may not have been entirely representative of pop in each generation.^[30]

In the 1960s, the majority of mainstream pop music fell in two categories: guitar, drum and bass groups or singers backed by a traditional orchestra.^[31] Since early in the decade, it was common for pop producers, songwriters, and engineers to freely experiment with musical form, orchestration, unnatural reverb, and other sound effects. Some of the best known examples are Phil Spector's Wall of Sound and Joe Meek's use of homemade electronic sound effects for acts like the Tornados.^[32] At the same time, 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.^[33] A 2019 study held by New York University in which 643 participants had to rank how familier a pop song is to them, songs from the 1960s turned out to be the most memorable, significantly more than songs from recent years 2000 to 2015.^[34]

Before the progressive pop of the late 1960s, performers were typically unable to decide on the artistic content of their music.^[35] Assisted by the mid-1960s economic boom, record labels began investing in artists, giving them the freedom to experiment, and offering them limited control over their content and marketing.^[36] This situation declined after the late 1970s and would not reemerge until the rise of Internet stars.^[36]Indie pop, which developed in the late 1970s, marked another departure from the glamour of contemporary pop music, with guitar bands formed on the then-novel premise that one could record and release their own music without having to procure a record contract from a major label.^[37]

The 1980s are commonly remembered for an increase in the use of digital recording, associated with the usage of synthesizers, with synth-pop music and other electronic genres featuring non-traditional instruments increasing in popularity.^[38] By 2014, pop music worldwide had been permeated by electronic dance music.^[39] In 2018, researchers at the University of California, Irvine, concluded that pop music has become 'sadder' since the 1980s. The elements of happiness and brightness have eventually been replaced with the electronic beats making the pop music more 'sad yet danceable'.^[40]

International spread[edit]

— Bob Stanley^[39]

Pop music has been dominated by the American and (from the mid-1960s) British music industries, whose influence has made pop music something of an international monoculture, but most regions and countries have their own form of pop music, sometimes producing local versions of wider trends, and lending them local characteristics.^[41] Some of these trends (for example Europop) have had a significant impact of the development of the genre.^[42]

According to Grove Music Online, 'Western-derived pop styles, whether coexisting with or marginalizing distinctively local genres, have spread throughout the world and have come to constitute stylistic common denominators in global commercial music cultures'.^[43] Some non-Western countries, such as Japan, have developed a thriving pop music industry, most of which is devoted to Western-style pop. Japan has for several years produced a greater quantity of music than everywhere except the US.^{[clarification needed][43]} The spread of Western-style pop music has been interpreted variously as representing processes of Americanization, homogenization, modernization, creative appropriation, cultural imperialism, or a more general process of globalization.^[43]

In Korea, pop music's influence has led to the birth of boy bands and girl groups which have gained overseas renown through both their music and aesthetics.^[44] Korean co-ed groups (mixed gender groups) have not been as successful.^[45]

See also[edit]

References[edit]

1. ^Traditional Pop, Allmusic.com. Retrieved 25 August 2016
2. ^ ^abcR. Middleton, et al., 'Pop', Grove music online, retrieved 14 March 2010. (subscription required)
3. ^ ^abGilliland, John (1969). 'Show 1 – Play A Simple Melody: Pete Seeger on the origins of pop music'(audio). Pop Chronicles. University of North Texas Libraries.
4. ^ ^abcdefgS. Frith, W. Straw, and J. Street, eds, The Cambridge Companion to Pop and Rock (Cambridge: Cambridge University Press), ISBN0-521-55660-0, pp. 95–105.
5. ^D. Hatch and S. Millward, From Blues to Rock: an Analytical History of Pop Music (Manchester: Manchester University Press, 1987), ISBN0-7190-1489-1, p. 1.
6. ^R. Serge Denisoff and William L. Schurk, Tarnished Gold: the Record Industry Revisited (New Brunswick, NJ: Transaction Publishers, 3rd edn., 1986), ISBN0-88738-618-0, pp. 2–3.
7. ^Moore, Allan F. (2016). Song Means: Analysing and Interpreting Recorded Popular Song. Routledge. ISBN978-1-317-05265-4.
8. ^Musicologist Allan Moore surmises that the term 'pop music' itself may have been popularized by Pop art.^[7]
9. ^Lamb, Bill (29 September 2018). 'What Is Pop Music?'. ThoughtCo.
10. ^J. Simpson and E. Weiner, Oxford English Dictionary(Oxford: Oxford University Press, 1989). ISBN0-19-861186-2, cf. pop.
11. ^D. Hatch and S. Millward, From Blues to Rock: an Analytical History of Pop Music, ISBN0-7190-1489-1, p. 49.
12. ^'Pop', The Oxford Dictionary of Music, retrieved 9 March 2010.(subscription required)
13. ^ ^abKenneth Gloag in The Oxford Companion to Music (Oxford: Oxford University Press, 2001), ISBN0-19-866212-2, p. 983.
14. ^ ^abT. Warner, Pop Music: Technology and Creativity: Trevor Horn and the Digital Revolution (Aldershot: Ashgate, 2003), ISBN0-7546-3132-X, pp. 3–4.
15. ^'Van's Brown Eyed Girl hits the 10 million mark in US'. BBC. 5 October 2011.
16. ^Steve Sullivan (2013). Encyclopedia of Great Popular Song Recordings, Volume 2. Scarecrow Press. pp. 101–103. ISBN978-0-8108-8296-6.
17. ^W. Everett, Expression in Pop-rock Music: A Collection of Critical and Analytical Essays (London: Taylor & Francis, 2000), p. 272.
18. ^J. Shepherd, Continuum Encyclopedia of Popular Music of the World: Performance and production (Continuum, 2003), p. 508.
19. ^V. Kramarz, The Pop Formulas: Harmonic Tools of the Hit Makers (Mel Bay Publications, 2007), p. 61.
20. ^Winkler, Peter (1978). 'Toward a theory of pop harmony', In Theory Only, 4, pp. 3–26.
21. ^Sargeant, p. 198. cited in Winkler (1978), p. 4.
22. ^Winkler (1978), p. 22.
23. ^McGee, Alan (August 20, 2008). 'Madonna Pop Art'. The Guardian. Retrieved April 17, 2013.
24. ^ ^abcdD. Buckley, 'Pop' 'II. Implications of technology', Grove Music Online, retrieved 15 March 2010.
25. ^Hewitt, Paolo; Hellier, John (2015). Steve Marriott: All Too Beautiful. Dean Street Press. p. 162. ISBN978-1-910570-69-2.
26. ^Reynolds, Simon (2006). 'New Pop and its Aftermath'. On Record: Rock, Pop and the Written Word. Routledge. p. 398. ISBN978-1-134-93951-0.
27. ^Edmondson, Jacqueline, ed. (2013). Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture. ABC-CLIO. pp. 317, 1233. ISBN978-0-313-39348-8.
28. ^ ^abLoss, Robert (August 10, 2015). 'No Apologies: A Critique of the Rockist v. Poptimist Paradigm'. PopMatters.
29. ^Joan Serrà, Álvaro Corral, Marián Boguñá, Martín Haro & Josep Ll. Arcos, 'Measuring the Evolution of Contemporary Western Popular Music', Nature.com, 26 July 2012. Retrieved 30 March 2016
30. ^ ^abJohn Matson, 'Is Pop Music Evolving, or Is It Just Getting Louder?', Scientific American, 26 July 2012. Retrieved 30 March 2016
31. ^'Making Arrangements—A Rough Guide To Song Construction & Arrangement, Part 1'. Sound on Sound. October 1997. Archived from the original on 8 May 2014. Retrieved 8 May 2014.
32. ^Blake, Andrew (2009). 'Recording practices and the role of the producer'. In Cook, Nicholas; Clarke, Eric; Leech-Wilkinson, Daniel (eds.). The Cambridge Companion to Recorded Music. Cambridge University Press. p. 45. ISBN978-1-139-82796-6.
33. ^Pareles, Jon (October 31, 2008). 'Orchestral Pop, the Way It Was (More or Less)'. The New York Times. Retrieved July 4, 2013.
34. ^'The greatest decade for pop music has been revealed (according to science)'. Smooth. Retrieved 2019-03-31.
35. ^Willis, Paul E. (2014). Profane Culture. Princeton University Press. p. 217. ISBN978-1-4008-6514-7.
36. ^ ^abMoore 2016, p. 202.
37. ^Abebe, Nitsuh (24 October 2005), 'Twee as Fuck: The Story of Indie Pop', Pitchfork Media, archived from the original on 24 February 2011
38. ^Collins, Glenn (1988-08-29). 'Rap Music, Brash And Swaggering, Enters Mainstream'. The New York Times.
39. ^ ^abChristgau, Robert (2014). 'Anti-Rockism's Hall of Fame'. The Barnes & Noble Review. Retrieved August 18, 2015.
40. ^'New study finds pop music has gotten extremely depressing but also more fun to dance to'. The FADER. Retrieved 2018-05-21.
41. ^J. Kun, Audiotopia: Music, Race, and America (Berkeley, CA: University of California Press, 2005), ISBN0-520-24424-9, p. 201.
42. ^'Star profiles' in S. Frith, W. Stray and J. Street, The Cambridge Companion to Pop and Rock (Cambridge University Press, 2001), ISBN0-521-55660-0, pp. 199–200.
43. ^ ^abcP. Manuel, 'Pop. Non-Western cultures 1. Global dissemination', Grove Music Online, retrieved 14 March 2010.
44. ^'K-Pop, la música y la moda 'rarita' coreana que arrasa la red'.
45. ^'Why aren't there many mixed gender K-pop groups?'. SBS PopAsia.

Further reading[edit]

• Adorno, Theodor W., (1942) 'On Popular Music', Institute of Social Research.
• Bell, John L., (2000) The Singing Thing: A Case for Congregational Song, GIA Publications, ISBN1-57999-100-9
• Bindas, Kenneth J., (1992) America's Musical Pulse: Popular Music in Twentieth-Century Society, Praeger.
• Clarke, Donald, (1995) The Rise and Fall of Popular Music, St Martin's Press. https://web.archive.org/web/20071231045026/http://www.musicweb.uk.net/RiseandFall/index.htm
• Dolfsma, Wilfred, (1999) Valuing Pop Music: Institutions, Values and Economics, Eburon.
• Dolfsma, Wilfred, (2004) Institutional Economics and the Formation of Preferences: The Advent of Pop Music, Edward Elgar Publishing.
• Frith, Simon, Straw, Will, Street, John, eds, (2001), The Cambridge Companion to Pop and Rock, Cambridge University Press,
• Frith, Simon (2004) Popular Music: Critical Concepts in Media and Cultural Studies, Routledge.
• Gillett, Charlie, (1970) The Sound of the City. The Rise of Rock and Roll, Outerbridge & Dienstfrey.
• Hatch, David and Stephen Millward, (1987), From Blues to Rock: an Analytical History of Pop Music, Manchester University Press, ISBN0-7190-1489-1
• Johnson, Julian, (2002) Who Needs Classical Music?: Cultural Choice and Musical Value, Oxford University Press, ISBN0-19-514681-6.
• Kent, Jeff, (1983) The Rise and Fall of Rock, Witan Books, ISBN0-9508981-0-4.
• Lonergan, David F., (2004) Hit Records, 1950–1975, Scarecrow Press, ISBN0-8108-5129-6.
• Maultsby, Portia K., (7907) Intra- and International Identities in American Popular Music, Trading Culture.
• Middleton, Richard, (1990) Studying Popular Music, Open University Press.
• Negus, Bob, (1999) Music Genres and Corporate Cultures, Routledge, ISBN0-415-17399-X.
• Pleasants, Henry (1969) Serious Music and All That Jazz, Simon & Schuster.
• Roxon, Lillian, (1969) Rock Encyclopedia, Grosset & Dunlap.
• Shuker, Roy, (2002) Popular Music: The Key Concepts, Routledge, (2nd edn.) ISBN0-415-28425-2.
• Starr, Larry & Waterman, Christopher, (2002) American Popular Music: From Minstrelsy to MTV, Oxford University Press.
• Watkins, S. Craig, (2005) Hip Hop Matters: Politics, Pop Culture, and the Struggle for the Soul of a Movement, Beacon Press, ISBN0-8070-0982-2.

External links[edit]

• The Consumption of Music and the Expression of Values: A Social Economic Explanation for the Advent of Pop Music, Wilfred Dolfsma, American Journal of Economics and Sociology, October 1999.