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Electro Pop:
Synthpop (also known as electropop, or technopop) is a genre of popular music that first became prominent in the 1980s, in which the synthesizer is the dominant musical instrument. It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, electronic art rock, disco and particularly the "Krautrock" of bands like Kraftwerk. It arose as a distinct genre in Japan and the United Kingdom in the post-punk era as part of the new wave movement of the late-1970s to the mid-1980s.
Early synthpop pioneers included Japanese group Yellow Magic Orchestra and British bands Ultravox and the Human League; the latter largely used monophonic synthesizers to produce music with a simple and austere sound. After the breakthrough of Tubeway Army and Gary Numan in the British Singles Chart, large numbers of artists began to enjoy success with a synthesizer-based sound in the early 1980s, including Soft Cell, Orchestral Manoeuvres in the Dark, Japan and Depeche Mode in the United Kingdom, while in Japan, Yellow Magic Orchestra's success opened the way for synthpop bands such as P-Model, Plastics, and Hikashu. The development of inexpensive polyphonic synthesizers, the definition of MIDI and the use of dance beats, led to a more commercial and accessible sound for synthpop. This, its adoption by the style-conscious acts from the New Romantic movement, together with the rise of MTV, led to success for large numbers of British synthpop acts, including Duran Duran and Spandau Ballet, in the United States.
In the late 1980s, duos such as Erasure and Pet Shop Boys adopted a sound that was highly successful on the US dance charts, but by the end of the decade synthpop had largely been abandoned. Interest began to be revived in the indietronica and electroclash movements in the late 1990s and, in the first decade of the 21st century, it enjoyed a widespread revival with commercial success for acts including La Roux, Kesha, and Owl City.
Synthpop helped to establish the place of the synthesizer as a major element of pop and rock music, directly influenced subsequent genres including house music and Detroit techno, and has indirectly influenced many other genres and individual recordings.
The genre has received criticism for alleged lack of emotion and musicianship. The "gender bending" image projected by synthpop artists during the 1980s resulted in hostility towards it.

Synthpop was defined by its primary use of synthesizers, drum machines and sequencers, sometimes using them to replace all other instruments. Borthwick and Moy have described the genre as diverse but "...characterised by a broad set of values that eschewed rock playing styles, rhythms and structures", which were replaced by "synthetic textures" and "robotic rigidity", often defined by the limitations of the new technology, including monophonic synthesizers (only able to play one note at a time). Many synthpop musicians had limited musical skills, relying on the technology to produce or reproduce the music. The result was often minimalist, with grooves that were "typically woven together from simple repeated riffs often with no harmonic 'progression' to speak of". Early synthpop has been described as "eerie, sterile, and vaguely menacing", using droning electronics with little change in inflection. Common themes were isolation, urban anomie, and feelings of being emotionally cold and hollow.

http://en.wikipedia.org/wiki/Electropop


Electro Pop:
Als elektronische Popmusik (oft auch Elektropop) wird Popmusik bezeichnet, bei der die Benutzung von elektronischen Instrumenten wie Synthesizern, Samplern und Drumcomputern im Vordergrund steht. Als Überbegriffe für die elektronischen Stile der Popmusik werden manchmal die Begriffe Synthie Pop und Electro Pop verwendet, die jedoch auch eigenständige Genres innerhalb der elektronischen Popmusik bezeichnen.
Da seit den 1980er Jahren elektronische Technologie im gesamten Popmusik-Spektrum verwendet wird, gilt nur solche Musik als elektronische Popmusik, in der die Möglichkeiten der Elektronik im Bereich der Klangsynthese ausgeschöpft werden und als wesentliches Element der Musik bezeichnet werden können.

Seit Ende der 1960er Jahre setzten immer mehr Rockmusik-Bands elektronische Musikinstrumente ein, zunächst jedoch für Klangexperimente, die mit einer massenkompatiblen Popmusik noch wenig zu tun hatten. Der britische Progrock (z. B. Pink Floyd) und das deutsche Pendant dazu, der Krautrock (z. B. Tangerine Dream), sorgten um 1970 für eine erste größere Welle der elektronischen Musikinstrumente in der Rockmusik.
In der Frühphase 1969 entstand das Lied Popcorn von Gershon Kingsley, der eine frühe Version des Moog-Synthesizers einsetzte – 1972 hatte die Band Hot Butter mit einem Remake von Popcorn einen großen Erfolg. Nachhaltiger war der Einfluss der aus der Krautrock-Tradition stammenden deutschen Gruppe Kraftwerk, die ab 1974 (Autobahn) eine eigene Symbiose aus einfachen Melodien, elektronischen Sounds und einem griffigen, technologieorientierten Image kreierten. Der Stil dieser Band und anderer Gruppen dieser Zeit wurde manchmal als Cosmic Rock oder Space Rock bezeichnet.
Zur gleichen Zeit nahmen auch die elektronischen Experimente in der musikalischen New-Age-Bewegung zu.
Ebenfalls aus dieser Zeit stammt das Album Oxygène (1976) von Jean Michel Jarre. Es war eines der ersten vollelektronisch eingespielten Alben, das den Geschmack der Massen traf und Synthesizer-Musik einem erweiterten Hörerkreis zugängig machte. Aufgrund der rein instrumentalen Arrangements und der bewussten Abkehr von klassischen (Pop-)Songstrukturen werden die frühen Werke von Jarre ebenso wie die deutscher Synthesizer-Pioniere wie Tangerine Dream oder Klaus Schulze normalerweise nicht zum Synthie Pop gezählt.

http://de.wikipedia.org/wiki/Elektronische_Popmusik


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