CONCERT

concert
concert-goer
jazz-concert
pop-concert
promenade
recital

CONCERT PROGRAMMES AND REPERTOIRES

work
item
piece
background music
chamЬег music
classical music
dance music
film music
folk music
instrumental music
jazz (traditional jazz)
light classical music
light music
modern classical music
orchestral music
pop music
serious music
vocal music
CLASSICAL WORKS
overture
sonata
suite
symphony (in 4 movements)
VOCAL WORKS
aria
madrigal
song
CHORAL WORKS
cantata
oratorio
requiem

PERFORMERS AND INSTRUMENTS

band
brass band
1
group (folk, pop group)
orchestra
chamber orchestra
jazz orchestra
philarmonic orchestra
string orchestra
symphony orchestra
variety orchestra
conductor
leader (first violin)
strings
woodwinds
brass
percussion
STRINGS
banjo
bass
guitar
balalaika
mandolin(e)
cellist
cello
double-bass (player)
violinist
viola
viola-player
violin
WOODWINDS
bassoon
bassoon player
bass clarinet
clarinet
clarinettist
contrabassoon
flutist
flute
oboe
oboist
BRASS
French-horn
French-horn player
trombone
trombonist
trumpet
2
trumpeter
tuba
PERCUSSION
сastanets
drums
cymbals
gong
SINGERS AND CHOIRS
choir
chorus
mixed chorus
youth’s choir
children’s choir
mass singing
sing in parts
sing out of tune
sing in unison
COMMON MUSICAL TERMS
baton
dumb note
melody
musical notation
note
sheet music
to have an ear for music
to play by heart / from memory
to read music
to read music at sight
tune
tuning fork
solo
duet
trio
quartet
quintet
sextet
septet
VOICE
bass
baritone
tenor
contralto
alto
mezzo-soprano
3
soprano
chest
hoarse
low
round
sweet
THE NOTES
C
D
E
F
G
A
B
sharp
double-sharp
flat
double-flat
natural
QUALITY OF MUSIC
tuneful
appealing
richly coloured
sweet
deep
to go to the heart
monument of genius
to astonish by originality and depth
light and superficial
stark and cold
scrappy
to bore everybody to distraction
to resort to noise and claptrap
to grate (rasp) upon the nerves
to wring the heart
to fade
to suffer neglect
violent in the extreme
undeservedly neglected
to bring smb everlasting fame and a place among the immortals of his art
to be a charlatan in music
all-embracing mastery

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Vocabulary exercises
1. Find the odd word.
1. Which is not a string instrument?
a) cello b) flute c) lute d) mandolin
2. Which is not a brass instrument?
a) bassoon b) cornet c) trombone d) trumpet
3. Which is not a wood-wind instrument?
a) bassoon b) oboe c) piccolo d) triangle
4. The next………….. on the programme will be a sonata by Beethoven.
a) bit b) item c) part d) piece
5. His performance was ……………….: the audience was delighted.
a) faultless b) imperfect c) unmarked d) worthless
6. In the orchestra the oboe and the bassoon are two of the …………..
instruments.
a) breath b) lip c) mouth d) wind
7. When the artist opened his violin case, he found that someone had stolen his
……………. .
a) arc b) bow c) rod d) stick
8. Which ………………. do you propose to play this piece in?
a) chord b) key c) notes d) score
9. The piano is badly out of ……………, I'm afraid.
a) melody b) practice c) tune d) use
10. As a pianist his ………………. is brilliant, but I don't care much for his
interpretation.
a) exhibitionism b) mastery c) technique d) technology
11. In this sonata, the first violin ………………..a nightingale.
a) reflects b) represents c) reproduces d) resembles
12. He never ……………… his early promise as a musician.
a) carried out b) discharged c) fulfilled d) performed
13. The choir stood in four rows according to their ………………… heights.
a) respectable b) respectful c) respective d) respected

Ex. 2. Put each of the following words and phrases in the correct place in the
passage below.
musicians bow bows string conductor instruments score
keys baton audience concert hall

While the (a) _____ was filling up and the (b) ______ were taking their seats, the
(c)____ were tuning their (d) _____ . The famous (e) _____ entered. He gave the
audience a low (f) ____, picked up his (g)______, looked briefly at the (h) _____
which lay open in front of him, and raised his hands. The pianist placed her fingers
ready over the (i) ____ of the piano. The (j) ___ section of the orchestra (violinists,
cellists, etc.) brought their (k) ____ up, ready to play. The concert was about to
begin.
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Ex. 3. Put each of the following words and phrases in the correct place in the
passage below.
group vocalist live stage number one
fans concert lyrics top ten recording studio

After the Beatles, the Rolling Stones have probably been the most successful
(a)____ in Britain. Most of their records have gone into the (b) ______ and they
have had many at (c) ____. But their records have usually been made in a (d)
_____ and I always wanted to hear them (e) ____ at a (f) _____. I wanted to see
them perform on (g) _____ in front of thousands of excited (h) _____ . And I did,
at Earls Court in 1983. It was great. And Mick Jagger, the (i) _____, sang all the
old favourites. I couldn’t hear the (j) _____ very well because of the noise, but
sometimes it didn’t matter.

Ex.4. Choose the right answer.

1. They have ……………….music at the disco.
a) actual b) live c) living d) real
2. Shall we dance? They are playing our favourite ……………….. .
a) aria b) line c) music d) tune
3. Of course, I'll play the piano at the party but I'm a little out of ………………. .
a) practice b) reach c) tune d) use
4. This is the ………………. guitar on which Lennon created some of his greatest
hits.
a) actual b) contemporary c) genuine d) original
5. Is he really ……………………. to judge a brass band contest?
a) capable b) competent c) efficient d) skilful
6. Some LPs have very imaginative designs on their …………….. .
a) arms b) coats c) envelopes d) sleeves
7. The pop ………………. is emptier following the death of John Lennon.
a) life b) kingdom c) music d) scene
8. I don't think I know that song, but if you ………………. the tune I may be able
to recognize it.
a) call b) chant c) hum d) sing
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9. The Manhattan Transfer ……………….is an example of well-balanced singing
by four artists.
a) duet b) lyric c) quartet d) tune
10. At the pop festival you will be able to hear music ……………….. over a
system of loudspeakers.
a) propelled b) realised c) relayed d) reproduced
11. The record-player needle ………………….. the record badly.
a) broke b) scraped c) scratched d) tore
12. The acoustics in the concert hall were very poor, and it was necessary to
…………… voices
of the performers.
a) amplify b) exaggerate c) extend d) increase
13. Italian TV has…………………. a young composer to write an opera for the
TV's thirtieth anniversary.
a) appointed b) commissioned c) consulted d) ordered
14. Pop stars have to get used to people trying to get their …………………. .
a) autographs b) names c) signatures d) sings
15. Tonight is a special ………………. night for our percussionist who has injured
his hand and won't be
able to play again.
a) benefit b) charity c) merit d) welfare
Ex. 5. Choose the most suitable word for each space.
Arts and Entertainment
Until the early part of this century there was certainly a distinction between
popular music, the songs and dance (1)……. of the masses, and what we have
come to call (2) ……. music. Up to that point, however, there were at least some
points of contact (3) ……. the two, and perhaps general recognition of what
made a good voice, or a good song. With the development of (4) …….
entertainment, popular music split away and and has gradually (5) ……. a
stronger life of its (6) ……. , to the point where it has become incompatible with
(7) ……. classics. In some respects, it is now dominated by the (8) …….of
youth culture, so that a concert by Elton John is just as much a fashion (9) ……. ,

7
and other artists may be promoting dance styles, or social (10) ……. For
this reason, it is impossible to talk about popular music as if it were a unified art.
The kind of music you like may (11) …….on what kind of person you are.
Curiously, there are now classical musicians and operatic singers who have (12)
……. the status of rock stars, and have been marketed in the same way. This seems
to suggest that many young people enjoy classical music but do not wish to be
associated with the (13) ……. of those who are traditionally supposed to enjoy it.
Or it may simply be that recording companies have discovered that there is an
insatiable (14) ……. for 'sounds', and that classical music is beginning to
sound exciting to a generation (15) ……. on rock but now settling into affluent
middle-age.
1. a) halls b) tunes c) musicians d) artists
2. a) rock b) modern c) underground d)
classical
3. a) with b) between c) by d) of
4. a) mass b) live c) recorded d) the
5. a) founded b) lived c) developed d) suggested
6. a) supporters b) self c) fans d) own
7. a) other b) the c) some d) further
8. a) promotion b) discovery c) tendency d) survival
9. a) as b) however c)event d) design
10.a) service b) grace c) protest d) science
11.a) depend b) identify c) suppose d) be
12.a) lost b) admired c) penetrated d) achieved
13.a) number b) dislike c) lifestyle d) meaning
14.a) desire b) sale c) interest d) outlet
15.a) raised b)carrying c) dependent d) listening

Ex. 6. In this short quiz, answer each of the questions.

1 Which of these is not normally religious?
a) a hymn b) а рsalm с) a carol d) ballad
2 Which of these would normally make the least noise?
a) a round b) a lullaby с) an anthem d) the refrain of a madrigal
3 Which of these is the odd one out?
a) a duet b) а triplet c) a quartet d) a quintet
4 Which order should these be in, starting from the top,

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a) baritone b) bass с) tenor d) contralto (alto) e) soprano
(treble)
SPEECH EXERCISES
Ex. 1. Talk to a partner and find out:

1. What sort of music he/she enjoys listening to.

2. For what reason and when he/she listens to music.
3. If he/she has ever learnt to play a musical instrument.
4. Which instrument he/she would like to be able to play and why.

Ex. 2. List the instruments in the orchestra that you would most like to play well.
Also note down any that you would never like to learn and why.

Ex. 3 Imagine that you are going to form your own supergroup, inviting famous
pop stars and other musicians to join you. Choose the instrument that you would
like to play from the list of instruments and types of singer below, in the line up for
the recording session for this pop group or rock band. Then note down the
instrument or vocals of your choice from each line and who you will invite to play
them or to sing.

1. lead vocals
2. lead guitar (electric)
3. acoustic guitar, 12-string guitar, sitar
4. bass guitar, backing vocals
5. drums
6. extra percussion, tambourine, maracas, bongos
7. keyboards, organ, electric piano, synthesiser
8. mandolin, steel guitar, electric fiddle (violin)
9. harmonica, mouth organ, Jew's harp, kazoo
10. saxophone, rhythm guitar, backing vocals

The arrangements, production, sound engineering and mixing are still to be

organised. Think of the records that you have got at home. Choose a recording
company or label that you would write to, in the hope that they will help you to
find a studio and market your record.

Ex. 4. Now you’ve got your latest single release recorded, when are you going to
go out on the road and do some live concerts? Note down the five venues that you
would choose for a European tour.

Ex. 5. What are your feelings about the following kinds of music?
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Opera, jazz, rock-n-roll, disco, classical, folk, country, pop.

Ex. 6. Give your impressions of a concert (recital) you have recently attended. Use
the topical vocabulary. Outline for giving impressions:

1. Type of event.
2. What orchestra, group performed?
3. Programme. Were the musical pieces well-known, popular, new, avant-guard,
etc.?
4. Who was the conductor?
5. Was the event enjoyable and interesting in your opinion?
6. Name the soloists.
7. What did critics say about the event? Do you share their points of view?
8. What impression did the event make on you? Did you take a solemn oath to
attend once again?

TEXT A
The role of music
Music is something that we take for granted in our daily lives, particularly
when it exists in the form of background music like advertising jingles. People
listen to music for a number of different reasons. Many teenagers listen to what’s
considered hip or cool to feel part of the gang. Many are seeking peace and
relaxation. Life today is full of stress and anxiety. Music is a great way to reduce
our day to day tensions. It may be any form of music or just the sounds of nature:
the rustling of leaves in the wind, the patter of rain, or the crashing of waves
against the rocks. You sit down for a moment, close your eyes, and as you get
tuned in to the music you are free of all the worries and concerns of the outer
world.
Music is a powerful tool that can influence people’s ideas and opinions
either positively or negatively. It can transmit a message leading some people to
rid themselves of passivity and become more active. During World War II
countries took a massive effort in broadcasting and producing music generally for
three reasons: to boost the morale of troops and civilians suffering under the war;
to attract enemy troops to propaganda programs; to express a vision of the nature
of their regimes. In the case of Germany the act of listening to music took on a
political role it didn’t in the United Kingdom or the USA. For example, listening to
jazz in Germany could be an act of political opposition since so many Jazz
musicians were African Americans. Nazi music is now held in dispute and many
composers’ music is criticized for being supported by the regime even, in the case
of Wagner, after their deaths.
Some people find pleasure not only in listening but in playing music. It brings
comfort and joy, allowing you to relax and unwind. You may end up being a
professional musician.

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 Of course deciding to embark on a music career is a tough choice. It is a
field that requires a lot of talent and dedication. The biggest advantage of all is
being able to do what you love. For rock bands, especially the ones which perform
for a relatively small audience at concerts and parties, it mainly stands for
entertainment and a source of pleasure. Musicians are happy playing a gig on a
Friday night for a very small fee just because they get to play in front of a group of
people. The satisfaction seems to cover the lack of money that is available.
For classical performers music would be a synonym of a demanding and low-paid
job, involving numerous hours of practice. Typically orchestra players cannot live
off of the wage they receive from being in the orchestra. To make enough money
to live, they must teach or be a solo performer.
As for popular music there is still a question of musical value. On the one
hand just because a band is trying to be successful doesn’t automatically imply that
they aren’t also trying to write good music. It is commonly accepted that some
records made in the sixties are the masterpieces of pop music and that their
creators are great musicians (suffice to mention the Beatles to make this point
clear). At that time being successful actually meant writing better songs than other
bands. On the other hand whether we like it or not, it is a social and a cultural fact
that in the field of popular music there exists an artistic hierarchy. Many people
nowadays question the artistic merits of mainstream pop.
Nowadays listeners are more likely to use alternative methods of enjoying their
favourite songs. The record industry’s main product, the CD is rapidly fading
away. At the same time digital downloads are growing.
To sum it up, the role of music is to set the mood, entertain, educate and
communicate. To uplift and enlighten. The role of music is as individual as the
favourite song.

Answer the questions. Use the topical vocabulary,

1. What musical genres do you know and what role does folk music play in all of
them?
2. What is meant by the terms classical or serious music, pop, rock, jazz and
contemporary music?
3. What genre do you prefer?
4. What role does music play in your life?
5. Do you think that at school music should be given the same emphasis as subjects
such as maths, literature, etc.?
6. What is your favourite instrument? Can you play it?
7. The human voice is regarded as a most refined instrument the proper use of
which requires a great deal of training. How do you feel about this
characterization?
8. Do you like opera? Do you agree with the opinion that operas are hard to follow
while musicals are more up-to-date and easier to understand?
9. What do you know about videos? How do they affect music?
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TEXT B
CLASSICAL MUSIC IN BRITAIN
Answer the questions before you start reading the text:
1. What do you know about British classical music?
2. How popular is classical music in your country? Do you ever listen to it?
3. Why do you think American pop music has tended to dominate the world
market?
4. Does you country have a living folk-music tradition?

Classical music is big in Britain. Every evening in London there is a huge

choice of concerts to go to. There are many full-time professional orchestras, and
hundreds of amateur ones including the National Youth Orchestra. Most secondary
schools have their own orchestras. There are two dedicated classical radio stations
- BBC Radio 3 and the much newer Classic FM. The sales of classical CDs are
enormous, sometimes rivalling pop sales; the young violinist Nigel Kennedy's
recording of Vivaldi's Four Seasons sold more than one million copies.
But in spite of all this, the history of British classical music is very uneven. It
started well, and is thriving today, but in between it went through a long,
unsuccessful period. Medieval churches had highly-trained choirs which were part
of the European Catholic tradition, and after King Henry VIII broke away from
Rome, lots of new choral music was written in English. Thomas Tallis, William
Byrd and Orlando Gibbons are great names from this period. Henry VIII also sang,
played the keyboard and composed; he is said to have written the very popular
song Greensleeves, still played today by ice-cream vans and telephone waiting
systems. Henry's daughter, Elizabeth I, also loved music, and so the royal palace
encouraged a thriving musical culture. At the same time as the flowering of drama
with Shakespeare and his contemporaries, there was a fabulous Golden Age of
English keyboard and lute music and song. John Dowland, Thomas Morley and
John Bull wrote exquisite material, which is not just of historical interest - it is
really worth listening to. This wonderful period came to an end in the 1620s.
However, the close of the same century produced the man generally considered to
be Britain's greatest composer- Henry Purcell. He wrote choral and instrumental
works, many of them for the church and for King Charles II, but one of his best-
loved works was composed for Chelsea Girls' School - the first English opera,
Dido and Aeneas.
Purcell died in 1695, only 36 years old, and so began a 200 year gap in British
musical creativity. The next home-grown composer of international status was to
be Edward Elgar, whose music flourished at the beginning of the 20th century. A
200 year gap is bad enough, but consider what was happening in the rest of Europe
during that time: Britain managed to miss out on the whole of the high baroque,
classical and romantic periods of Western music. No wonder his compatriots were
so delighted with Elgar (1857-1934). He had absorbed the new harmonies of Liszt
and Wagner, but in an indefinable way he succeeded in evoking his native
12
landscape near the Welsh border and the rather nostalgic mood in England at the
lime. Among his loveliest pieces the cello concerto, the violin concerto and the
songs called Sea Pictures.
The musical scene in Britain, which had seemed so dead, now burst into life.
Elgar had several notable younger contemporaries: Delius, Vaughan Williams and
Hoist. They were followed by William Walton, who composed some great film
music, and several important women composers - Elizabeth Lutyens, Elizabeth
Maconchy and Thea Musgrave
There was a flowering of opera in the hands of Michael Tippett and the biggest
British star of 20th century classical music, Benjamin Britten. Having missed the
19th century, when Italy and Germany were producing a great number of operas,
Britain made quite a good attempt to catch up.
Of course, it is rather inappropriate to talk about classical music in nationalistic
terms; more than perhaps any other art form, it is international. British musicians
work all over the world, and the music scene in Britain is, and always has been,
full of foreign talent. Handel has not so far been mentioned; he did not strictly fit
the criteria, since he was German by birth. But he settled in England in 1712 at the
age of 27, became a British subject, wrote a large number of works (such as
Messiah) in English, and has been Britain's favourite composer ever since; the
British long ago gave up writing his name in the correct way, Haendel, or
pronouncing it accordingly. One of J. S. Bach's many sons, J.C. Bach came to live
in London in 1762 and became known as the English Bach. The Italian Luigi
Cherubini became court composer to King George III. In the 20th century, the
Spanish composer Roberto Gerhard settled in England and is thought of as, British.
Many great instrumental players and conductors have lived or worked in Britain:
Vladimir Ashkenazy, Yehudi Menuhin, Mstislav Rostropovich, the Amadeus
Quartet, Yo Yo Ma, Mitsuko Uchida, Otto Klemperer and Georg Solti.
Attitudes to classical music are strangely contradictory. Many young people
learn to play instruments like the piano, the violin or the flute at school. This is
nearly always in a classical context; they learn to read music and play in the
orchestra, with teachers who are essentially classical musicians. But the same 16-
year-old boy who studies the cello every week, and practises Brahms for the school
concert, comes home and listens to Oasis and Radiohead. With his friends he talks
about guitar riffs and drum machines, and has strong ideas about the quality of the
DJs in the local dance clubs.
He likes Puccini, but he does not buy La boheme on CD; he buys Blur.
Pop and classical seem to exist in completely different worlds, with only
occasional and rather embarrassed contact. You will never hear a classical piece
played on a pop radio station, or vice versa. Hardly any musicians actually manage
to sing or play in both styles. The divide is a subject of jokes: when Beatle Ringo
Starr was asked what he thought of Beethoven, he said: "I love him, especially his
poems.''
Actually there is one area of crossover, the musical: in the Andrew Lloyd
Webber-type stage shows, such as Cats, Starlight Express or The Lion King, easy-
13
listening pop songs are accompanied by a classical orchestra. But it is interesting
that both serious classical musicians and serious pop fans despise the musical: it is
too anodyne, too middle-of-the-road.
As with so many aspects of life in Britain, social class comes into the question
of musical tastes. If you mingle with the crowd coming out of the Royal Opera
House, Covent Garden, you will see (and hear, if you are sensitive to accents) that
they are middle class. Pop musicians, on the other hand, are expected to be
working-class heroes. Mick Jagger came from a middle-class background, but does
not like to admit it; so he tries to speak with a cockney accent and sing with an
American one.
Of course, talented musicians see past the class stereotypes, and are able to
appreciate what is good, whether it is pop, classical, jazz or world music. It seems
that the less musical you are, the more partisan you become. Tone-deaf middle-
class people support classical as though it were a football team, and dismiss pop as
rubbish and noise; unmusical working-class people treat classical as though it were
purely an expression of snobbery.

DISCUSSION

Are you for or against classical music. Study the following arguments and develop
the ideas.
FOR
1. Classical music gives the listeners a keen sensual delight and pleasure.
2. Classical music has a deep intellectual appeal.
3. Classical music has a strong ethical effect: it ennobles the listener, makes him
better and more humane.
4. Classical music condemns evil and supports the ideas of good.
5. Classical music creates a special spiritual world for the listener which
immensely enriches his inner life and makes him happy.
AGAINST
1. Classical music is a complicated art: it's difficult to find one's way into it.
2. It's an exclusive art: most people don't like or understand it. It's not a popular art.
3. The very length of most classical music pieces can send any listener to sleep,
4. People want the kind of music to, which they can dance or just talk to friends. It
should be simple, cheerful and up-to-date.

TEXT C
FOLK, WORLD MUSIC AND ALL THAT JAZZ
Pop and classical may dominate the market, but there are alternatives. The big
folk revival of the 1960s seems a long time ago, and few people today sing Joan
Baez songs or early Bob Dylan. But there is something of a craze for folk dancing.
Instead of the more common mini-disco and strobe lights, big parties often have a
guitar, a violin and a caller, who shouts instructions for square or barn dancing.
There has also been an explosion of Irish music. It is not surprising that Irish is the
14
most vigorous folk scene: English folk was a modern revival, but in Ireland the
tradition of folk song and dance never really died out.
There has long been an interest in folk and classical music from around the
world. People came back from various places around the old Empire with strange
instruments, and later, recordings. There was a burst of popularity for Indian music
after the Beatles went there and George Harrison learnt to play the sitar; in the
early 70s the sitar virtuoso Ravi Shankar became a star in Britain.
Of course, the Asian communities keep music from their homelands alive and
mixed styles have also emerged: in the 1980s and 90s Punjabi instruments were
blended with pop and dance music to produce Bhangra. African drums and song,
of course, keep returning to the music scene; the amazing beat and harmony of the
big vocal group Ladysmith Black Mambazo have made an impact. Every year
styles from all over the world are celebrated at a huge open-air festival called
WOMAD (World of Music, Arts and Dance). All these .styles have now been
given a marketing identity under the name world music somewhere between pop
and classical and world music, there is a musical tradition whose importance is far
greater than its low profile would suggest. Jazz came from America, but today it is
thoroughly international and Britain has a small but powerful jazz scene. You can
hear it in small venues - pubs and clubs - all over the country, and the brilliance of
the musicianship is all the same exciting since you can get up close to it. Some
great English jazz names are John McCloughlin (guitar), Django Bates (keyboards)
and Geoff Simkins (saxophone). The future for jazz looks good as there is a
generation of new talent now emerging, including, for the first time, some
excellent young black players like Courtney Pine and Steve Williamson.

COMPREHENSION QUESTIONS
Decide whether the following statements are True or False. Correct the false
ones.
1. Few people in Britain enjoy classical music.
2. Classical music in Britain has always flourished.
3. Henry VIII caused the decline of classical music in Britain.
4. The period of flowering lasted throughout the 17 century.
5. The beginning of the XX century was a revival of British classical music.
6. The British recognize Haendel as their national composer.
7. All the children are taught to play a musical instrument at school.
8. Classical and pop co-exist and penetrate into each other in Britain, a good
example is the musical.
9. There is no connection between music and social class.
10. The great impact of American pop culture on Britain is due to the English
language which is spoken in both countries.
11. Pop music is more international than classical.
12. Punk music was more sophisticated than rock-n-roll and targeted at high-class
audience.
13. Pop music changes just for commercial reasons.
15
14. Most people misuse the term ‘pop’.
15. Britain’s former colonies contribute a lot to the development of folk music.
16. Folk exists in its traditional form and permits no changes.

TEXT E
POP AND ROCK IN BRITAIN
In the 1950s, American popular music spread all over the world. Together
with film, it was part of the USA cultural imperialism which had started earlier in
the century and was now advancing on all fronts. Because of the shared language,
it made more of an impact on Britain than on most other countries. People listened
with pleasure to Bing Crosby, Frank Sinatra and Doris Day; then with shock,
horror and delight to Chuck Berry, Buddy Holly and Elvis Presley. Whatever the
Americans produced, Britain enjoyed.
Rock 'n' roll caught on in a very big way in Britain, and in fact some
American rockets like Eddie Cochran had more fanatical fans here than at home.
Although Elvis only set foot on British soil once (at a military airport, on his way
to Germany), he was the King as much in Britain as anywhere. But the interest in
rock 'n' roll extended beyond listening to it; the British began to imitate it,
sometimes quite successfully. Amateurish skiffle groups gave way to classy rock
'n' roll acts. The Beatles had their first hit, Love Me Do, in 1962 and it was not
long before they turned the tables on the Americans; they were the first British
artists to break into the US market, and they were the vanguard of a real invasion.
Soon there was international success for the Rolling Stones, the Animals, the
Kinks, the Dave Clark Five, Herman's Hermits, Gerry and the Pacemakers, Freddie
and the Dreamers, and others.
Since that time, pop music in Britain has been a mix of American and
British. However, in more than any other aspect of the culture, pop seems to be
xenophobic: foreign artists just cannot break into the market. Of course, there are
exceptions, including a few from English-speaking countries: Australians Kylie
Minogue and INXS, Canadians Bryan Adams and k.d. lang, Irish bands U2 and the
Cranberries, and great reggae artists like Bob Marley from Jamaica. Occasionally
north-European voices manage to get heard: A-Ha, Kraftwerk, Bjork, the ever-
popular Abba, and recently the highly entertaining Aqua.
The pop music world moves very fast. By the end of the 1960s, rock 'n' roll
seemed a fully mature art form, with a whole range of variants. From then through
to the late 1970s, there was a wide variety of popular music styles from
psychedelic, folk rock, glam rock and progressive rock to kink and reggae. By the
late 70s, some people were beginning to tire of the smooth professional style of the
rock industry. It had become a rich show-business phenomenon and had lost touch
with its working-class roots. In Britain a few young musicians (with the help of
some marketing experts) started the punk revolution. It was pure anti-
establishment, and that included the rock 'n' roll establishment. The Sex Pistols,
Siouxsie and the Banshees, the Clash and the Buzzcocks hated or pretended to hate
middle-class society and the pop super-stars. They also made rock music cheaper
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to produce, getting away from the expensive sounds of high-tech studio
production. This inspired the creation of a lot of new bands by people without
much 'money (or talent in some cases). But punk did not last long.
The pop business is driven by the need for change and innovation; the
economics of it simply do not work if the public listens to the same thing all the
lime. The result of all this innovation is the massive variety of pop music today.
Some styles, like punk, appear and then disappear. Some, like country music, stay
and are added to the ever-growing pop menu. Others split into subgroups, as has
happened to dance music. In the 70s, when the Bee Gees wrote the soundtrack for
the film Saturday Night Fever, there was just disco. As it got heavier and funkier, it
was known as house, or acid house. Out of house in the USA came techno and
garage, and in Britain, jungle, which in turn gave birth to ragga jungle and drum 'n'
bass. Then the earlier house music had a revival under the name old school.
In spite of all the fashionable rebellion, mainstream pop is still doing
extremely well. Actually, the term pop itself needs some explanation. So far, it has
been used here to mean popular music in general, including rock, dance and rap.
But young people use it more often in the more restricted sense of chart music:
ordinary, middle-of-the-road tunes with a big audience -the sort of thing that is
shown on TV in the early evening. In this sense, it is often a term of abuse. But in
reality, not many people follow all the latest developments in drum a' bass; it is
only accessible: to 15 to 25-year-olds who go dancing. Most of the population
listens to pop music - to Boyzone-type boy bands and Spicegirl-type girl bands, to
Robbie Williams and Celine Dion.

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