Understanding the Business of Popular Songs
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The University of Southern Mississippi The Aquila Digital Community Honors Theses Honors College Spring 5-10-2012 Understanding the Business of Popular Songs Jeremiah Stricklin University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/honors_theses Part of the Arts and Humanities Commons Recommended Citation Stricklin, Jeremiah, "Understanding the Business of Popular Songs" (2012). Honors Theses. 87. https://aquila.usm.edu/honors_theses/87 This Honors College Thesis is brought to you for free and open access by the Honors College at The Aquila Digital Community. It has been accepted for inclusion in Honors Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi UNDERSTANDING THE BUSINESS OF POPULAR SONGS By Jeremiah Evan Stricklin A Thesis Submitted to the Honors College Of the University of Southern Mississippi in Partial Fulfillment of the requirements for the Degree of Bachelor of Arts in the Department of Mass Communication and Journalism March 2012 ii Approved by ______________________________ Paul Linden Assistant Professor of Entertainment Industry ______________________________ Christopher Campbell, Director School of Mass Communication and Journalism ______________________________ David R. Davies, Dean Honors College iii Abstract UNDERSTANDING THE BUSINESS OF POPULAR SONGS By Jeremiah Evan Stricklin March 2012 This paper presents an analysis of Billboard Music Charts’ top twenty popular songs from the year 2011. These songs are studied to determine whether or not their songwriters adhere to hypothetical rules left by songwriting scholars from the past. The criteria for analysis include: length of introduction, length of the entire song, the presence of a memorable ‘hook’, the connection between tempo and key tonality, and the form of each song. The research concludes that, while songwriters typically adhere to a loose set of rules, they do not follow them exactly. Therefore, the success of a popular song cannot be credited to any single songwriting formula. iv v TABLE OF CONTENTS Introduction………………………………………………………………………… 1 Literary Review……………………………………………………………………. 2 Research Questions ……………………………………………………………….. 8 Research method/sample technique…………………………………………………9 Procedure ………………………………………………………………………….. 10 Song attributes Introduction length……………………………………………………….. 11 Hook……………………………………………………………………… 12 Song length……………………………………………………………….. 14 Mood/tempo……………………………………………………………… 14 Song form………………………………………………………………… 17 Findings…………………………………………………………………………… 20 Discussion…………………………………………………………………………. 21 Conclusion…………………………………………………………………………. 24 References…………………………………………………………………………. 25 vi vii Understanding the Business of Popular Songs Introduction Pop music brings in money. In 2007, the pop music genre contributed to 12% of a 12 billion dollar income, approximately 1.5 billion dollars, of the entire music industry (Hutchison, 2010). For this reason, it is important to study how to write popular songs. Popular songs can span many different genres of music. However, most popular songs carry similar characteristics that aid in identifying them. For example, Bruno Mars’ single “Grenade” was a chart topping hit in 2011 (Billboard). The song is driven by piano and Bruno Mars’ higher ranged vocals. Taylor Swift’s “Back to December” is also a top pop song and it carries similar qualities to that of “Grenade.” Both songs have the same song form: ABABCB (A=verse, B=Chorus, C=Bridge). Both songs have a memorable musical idea called a hook. Both songs have introductions of fewer than twenty seconds. Evidence such as this leads songwriters to believe that there is a legitimate routine for pop songwriters. Eleven-minute rock ballads typically do not find a place on mainstream radio stations. The value of a formula or model is obvious for any struggling songwriter attempting to gain commercial success. Some songs are so popular that they can be considered crossover-hit songs. This means that the song, no matter the genre, can span across many different charts. To do this, an artist is “reaching a broader audience by a change of medium or style” (Merriam-Webster). A successful crossover hit can be played on a country station, top 40 hit radio, or any other station that plays mainstream radio songs. 1 This has led the discussion of a “perfect song” formula within pop culture criticism. For instance, songwriters usually live by the idea that hit songs are simple. Harvey Rachlin states “[s]uccessful songs are memorable because they are not complicated. There is a pattern or form to them that makes them easy to remember” (Rachlin, 1977). Scholars like Citron suggest that the form of popular songs is very specific. The form of pop songs is illustrated with letters (A B and C), where each letter refers to a section type within the larger structure. Citron even feels that there are specific progressions in the form that make pop songs (Citron, 1985). Many scholars agree with Liggett in regards to a pop song’s “hook” as well as the overall length of the song (Liggett, 1993). Other points in the form of a perfect song include short introductions (about fourteen to seventeen seconds in length) as well as lyrics that have a universal appeal. Such aspects are commonly cited in the discussion regarding the “perfect song” format. This study will examine Billboard Music’s top 20 popular songs of 2011 to assess the extent to which they follow, or suggest, a “perfect song” format. Literary Review Following the work of Citron and Braheny, scholarship addressing popular songwriting typically considers techniques such as formal pattern, introduction length, presence of a hook, length of the entire song, and correlation of mood and tempo. These techniques have also been taken to heart by contemporary songwriters in their effort to construct the perfect pop song. Most scholars, like Noonan and Liggett, suggest that there are common attributes that create the success of popular songs. But to understand 2 pop songs, it is important to have a working definition of popular music. Bill Lamb (October 2011) describes it as music that evolved out of the rock 'n roll revolution of the mid-1950's and continues in a definable path to today (October 2011). The Top 40 is a popular form of hearing the week’s forty most popular pop songs. The Top 40 came from the idea of playing the most popular tracks from a jukebox. The reason the Top 40 is important for pop music is that it is “generally used as a label for mainstream pop music, particularly played on the radio” (2011). Pop music reaches many different genres of music. The genres include rock, rhythm and blues, and country, amongst many others. For this reason, crossover hits can reach even more people than typical, one-sound songs. Hit songs are those found at the top of worldwide music charts and the US market for popular music produces the greatest revenue. Billboard ranks these lucrative, domestic hit songs and the issue of their internal similarities is pertinent for multiple reasons. While scholarship does not contradict the fact that these similarities provide hit pop songs with a characteristic sound, the relationship between form and profit is noteworthy. Music business educators like Geoffrey Hull and Tim Whitsett point out how an effectively constructed pop song generates revenue. A primary income stream for pop music is known as public performance royalties. Based on ownership of copyright in the composition, this royalty is collected by one of the three American Performing Rights Organizations (PROs): ASCAP, SESAC and BMI (Braheny, 2006). These PROs keep up with how many times a song is played via broadcast or live performance and collect money for that amount. The money is then split up between the publishers and the songwriters. Consider the following example of how one hit song can bring revenue to a 3 songwriter. Adele’s song “Rolling in the Deep” from the album “21” (XL Recordings LTD.) is the highest selling single in digital format since digital music sales began being tracked in 2003 (Christman, 2011). The song was not only purchased digitally, but it was (and is) used in movies, played on the radio, and synched with TV shows. Every time “Rolling in the Deep” is used for any sort of media where profit is involved, Adele receives compensation for her work. As Whitsett points out, even a pop song charting in the Billboard top 5 will see PRO earnings of somewhere in the range of $250,000 for the first year. The song is a perfect representation of what makes a pop song a hit. Songwriters must answer to a certain amount of rules when aiming to write a great hit. Obviously, there are always exceptions. However, one major rule in making a successful pop song is mass appeal. The more people a song can reach, the more likely that the songwriter will receive income for his/her work. According to Braheny, “one of the most important functions of a song is to give people a vehicle to express hopes, dreams, and inner conflicts that they might otherwise keep inside” (2006). The context of a song is crucial to gaining the appeal of a great amount of people. Obscure subject matters or extremely specific personal affairs do not typically resonate with the masses. For this reason, pop songs are usually broad, relatable subjects to which people can easily identify. Some hit songs tell a story that the listener can follow although this isn’t always the case either. But for those that make the effort to build a narrative, the story must be “something that resonates with the listener, but also ensure its universality has an element that’s well, original, slightly off kilter, even twisted” (Hill, 2010). Another characteristic in hit songs is the relationship between tempo and mood. Noonan claims, “fast music is associated with increased arousal; whereas low music is 4 associated with somber and mellow emotions” (Noonan, 2011). As an experiment, Noonan suggests playing a song 40 beats per minute faster to see the effects on arousal.