Pop rock (also written as pop/rock) is a type of rock music that focuses more on professional songwriting and recording techniques than on attitude. It began in the late 1950s as an alternative to traditional rock and roll. Early pop rock was influenced by the beat, musical arrangements, and unique style of rock and roll (and sometimes doo-wop). Pop rock is considered both a separate music genre and part of the broader categories of pop and rock music. Some people who criticize pop rock describe it as a smooth, marketable product that is less authentic than traditional rock music.

Characteristics and etymology

Much pop and rock music has shared similar sounds, instruments, and song lyrics. The terms "pop rock" and "power pop" describe music that is popular and uses parts of rock music. Johan Fornas believes pop rock is one continuous type of music, not separate groups. Larry Starr and Christopher Waterman define it as upbeat rock music, with examples including artists like Andy Kim, the Bells, Paul McCartney, Lighthouse, and Peter Frampton.

The word "pop" has been used since the 1940s to describe popular music. In the mid-1950s, it became a specific type of music aimed at young people, often seen as a softer version of rock and roll. After the British Invasion in the 1960s, "pop" was often used to contrast with "rock," describing music that was more commercially successful, short-lived, and easy to listen to.

In the 2010s, "guitar pop rock" and "indie rock" are considered similar. The word "jangle" is used by music critics to describe a bright, cheerful style of guitar pop.

Debates

Critic Philip Auslander says the difference between pop and rock music is more noticeable in the United States than in the United Kingdom. He explains that in the U.S., pop music began with white singers like Perry Como, while rock music came from African-American musical traditions, such as rock and roll. Auslander notes that the idea of "pop rock," which mixes pop and rock, challenges the common belief that pop and rock are opposites. Auslander and other scholars, including Simon Frith and Grossberg, say pop music is often seen as not genuine, overly commercial, and following a set pattern. In contrast, rock music is usually described as authentic, heartfelt, and not driven by money, with a focus on songwriting and musical skill.

Simon Frith's study of popular music from the 1950s to the 1980s has been criticized by B. J. Moore-Gilbert. Moore-Gilbert argues that Frith and others have focused too much on rock's role in music history by adding the word "rock" to the names of new genres. For example, when a folk-style music emerged in the 1960s, Frith called it "folk rock," and when pop-influenced styles appeared in the 1970s, he labeled them "pop rock." Moore-Gilbert says this approach places rock at the center of music history, making other influences seem like additions to rock.

In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau discussed the term "pop-rock" in the 1970s, when music styles became more divided. He described "pop-rock" as a large, broad category that included many different styles, such as singer-songwriter music, art rock, heavy metal, boogie, country rock, jazz fusion, funk, disco, urban contemporary, and new wave. However, he did not include punk rock in this group.