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It may seem crass that business is driving song structure, but this is nothing new. (As the adage goes, “Don’t bore us, get to the chorus.”) And since platforms generally don’t pay out unless the listener gets past the first 30 seconds, artists are incentivized to put the best material first. To maximize revenue, Top 40 songs have gradually been getting shorter - with more and more coming in around the two-minutes mark, as opposed to the more traditional three minutes and 30 seconds. So to keep streaming consumers engaged, it is increasingly common for songs to begin in medias res - with a hook, followed by a hook and ending with another hook.Īs Quartz has reported, “streaming music is changing the way songs are written,” and largely because of the new set of economic incentives that the medium brings: Artists are mostly compensated per listen, rather than by album sales. You’re also competing against everything else that takes up our time: podcasts, TV, apps and more.
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You’re not just competing against other creators. From Spotify to TikTok, the goal is to create music that will grab a listener’s attention from beginning to end. It’s inescapable that today’s aspiring artists and songwriters must operate, for survival, in a landscape of streaming services and social media. The very term “chorus” implies collective group singing, whereas the hook is designed to catch listeners and reel them back in to listen on repeat - an intriguing method that serves the streaming economy. This change in language suggests a change in the social function of music. Warren hears more artists refer to “the hook” in place of the chorus. These changes are being directly felt in the industry’s nerve center: the songwriting session.Įmily Warren, the songwriter for Grammy-winning new-guard pop acts like Dua Lipa and Khalid (and a Grammy nominee herself this year), told us that “choruses are changing” in large part because acts like Bad Bunny and Billie Eilish are upending the rigid song structures from a decade ago when, she says, “pop was straight ahead, giant, in your face, chorus melodies.” (The success of Bad Bunny - the most-streamed artist of 2020 - is a testament to not only pop music’s changing forms but also its widening cultural borders.) Instead, the chorus of “Bad Guy” offers the listener a low-key, half-whispered, stream-of-consciousness rhyme scheme (“Just can’t get enough guy / Chest always so puffed guy /I’m that bad type / Make your mama sad type”) over muffled drums and bass. It displays few of the values we typically associate with pop: the peaking decibel levels, the soaring melodies, the recurring phrases that are easy to sing along with, all wrapped into a steadily repeating climax that neatly tucks itself in between verses.
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Take Billie Eilish’s “ Bad Guy,” one of the biggest hits of 2019. The form of pop as we know it seems to be changing before our ears. Listen to the Top 40 charts of the last decade and a surprising trend emerges. Beyond radio play, songs are five-second memes, 12-second TikTok soundtracks, 30-second ads and two-and-a-half-minute club anthems. A mix of generational churn, creativity spawned by the digitization of music production and the dilution of the industry’s top-down structure - paired with the fragmentation of the media and adaptations to the streaming economy - has warped song structures. By the end of the 1980s, that figure had doubled to 84 percent.īut things quickly began to shift in the 2010s. The music theorist Jay Summach has found that by the end of the 1960s, 42 percent of hit songs used verse-chorus form.
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CHRISTMAS POP UP CARD VIDEOHIVE TEMPLATE FREE AFTER Pop up card heart love page 2 by SabrinasCraftingClub on Pop up card rainbow hearts learn how to make a popup 17 Best images about Pop up on Pinterest Papercut Template Tunnel card Storm Instant Download Papercut Template Pop up Card Castle Instant Download SVG.Listeners loved this new form so much that it was soon the industry default.