1940-50 жылдардағы рок-н-ролл музыкасының дамуы

Many musical styles flourished and combined in the 1940s and 1950s, most likely because of the influence the radio had in creating a mass market for music. World War II caused great social upheaval, and the music of this period shows the effects of that upheaval.

Rock and roll dominated popular music in the latter half of the 1950s. The musical style originated and evolved in the United States during the late 1940s and early 1950s, and quickly spread to much of the rest of the world. Its immediate origins lay in a mixing together of various black musical genres of the time, including rhythm and blues and gospel music; with country and western and Pop. In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music for a multi racial audience, and is credited with first using the phrase "rock and roll" to describe the music, though the terms "rocking" and "rolling" were being used in boogie woogie and religious music for decades before that. The 1950s saw the growth in popularity of the electric guitar (developed and popularized by Les Paul). Paul's hit records like "How High the Moon," and "The World Is Waiting for the Sunrise," helped lead to the development of a specifically rock and roll style of playing of such exponents as Chuck Berry, Link Wray, and Scotty Moore. Chuck Berry, who is considered to be one of the pioneers of Rock and roll music, refined and developed the major elements that made rock and roll distinctive, focusing on teen life and introducing guitar solos and showmanship that would be a major influence on subsequent rock music. Artists such as Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis, Big Joe Turner, and Gene Vincent released the initial rhythm and blues influenced early rock and roll hits. Rock and roll forerunners in the popular music field included Johnnie Ray, The Crew Cuts, The Fontane Sisters, and Les Paul and Mary Ford. The Rock and Roll Era is generally dated from the March 25, 1955 premiere of the motion picture, "The Blackboard Jungle." This film's use of Bill Haley and His Comets' "(We're Gonna) Rock Around the Clock" over its opening credits, caused a national sensation when teenagers started dancing in the aisles. Pat Boone became the first rock and roll teen idol in 1955 with heavily Pop influenced "covers" of R&B hits like "Two Hearts, Two Kisses (Make One Love)," "Ain't That a Shame", and "At My Front Door (Crazy Little Mama)." Boone's traditional approach to rock and roll, coupled with his All American, clean cut image helped bring the new sound to a much wider audience. Elvis Presley, who began his career in the mid 1950s, soon became the leading figure of the newly popular sound of rock and roll with a series of network television appearances, motion pictures, and chart topping records. His energized interpretations of songs, many from African American sources, and his uninhibited performance style made him enormously popular—and controversial during that period. Boone and Presley's styles/images represented opposite ends of the burgeoning musical form, which competed with one another throughout the remainder of the decade. In 1957, a popular television show featuring rock and roll performers, American Bandstand, went national. Hosted by Dick Clark, the program helped to popularize the more clean cut, All American brand of rock and roll. By the end of the decade, teen idols like Bobby Darin, Ricky Nelson, Frankie Avalon, Paul Anka, Neil Sedaka, Bobby Rydell, Connie Francis, and Fabian Forte were topping the charts. Some commentators have perceived this as the decline of rock and roll; citing the deaths of Buddy Holly, The Big Bopper and Ritchie Valens in a tragic plane crash in 1959 and the departure of Elvis for the army as causes. On the other side of the spectrum, R&B influenced acts like The Crows, The Penguins, The El Dorados and The Turbans all scored major hits, and groups like The Platters, with songs including "The Great Pretender" (1955), and The Coasters with humorous songs like "Yakety Yak" (1958), ranked among the most successful rock and roll acts of the period. Rock and roll has also been seen as leading to a number of distinct subgenres, including rockabilly (see below) in the 1950s, combining rock and roll with "hillbilly" country music, which was usually played and recorded in the mid 1950s by white singers such as Carl Perkins, Jerry Lee Lewis, Buddy Holly and with the greatest commercial success, Elvis Presley. Another subgenre, Doo Wop, entered the pop charts in the 1950s Its popularity soon spawns the parody "Who Put the Bomp (in the Bomp, Bomp, Bomp)." Novelty songs, long a music industry staple, continued their popularity in the Rock and Roll medium with hits such as "Beep Beep."

In the late 1930s, Bill Monroe formed the Blue Grass Boys (named after his native state of Kentucky, the blue grass state) and combined diverse influences into Appalachian folk music. These include Scottish, Poland and Southeastern Europe and folk, as well as doo wop, country and gospel. Monroe became the father of bluegrass music, and his band was a training ground for most of bluegrass' future stars, especially Lester Flatt and Earl Scruggs. Flatt and Scruggs popularized bluegrass as part of the Foggy Mountain Boys, which they formed in 1948. Though bluegrass has never quite achieved mainstream status, it did become well known through its use in several recorded plays, including the T. V. theme song for Beverly Hillbillies and the movies Bonnie and Clyde and Deliverance. In the 1950s, bluegrass artists included Stanley Brothers, Osborne Brothers and Jimmy Martin's Sunny Mountain Boys.

The 1950s also saw the popular dominance of the Nashville sound in country music. Country's Nashville sound was slick and soulful, and a movement of rough honky tonk developed in a reaction against the mainstream orientation of Nashville. This movement was centered in Bakersfield, California with musicians like Buck Owens ("Act Naturally"), Merle Haggard ("Sing a Sad Song") and Wynn Stewart ("It's Such a Pretty World Today") helping to define the sound among the community, made up primarily of Oklahoman immigrants to California, who had fled unemployment and drought.

The late 1940s and the early 1950s saw the beginning of popular folk music with groups like The Weavers. The Kingston Trio, Pete Seeger, Woody Guthrie, Odetta, and several other performers were instrumental in launching the folk music revival of the 1950s and 1960s.

By the late 1950s, a revival of Appalachian folk music was taking place across the country, and bands like The Weavers were paving the way for future mainstream stars like Bob Dylan and Joan Baez. Bluegrass was similarly revitalized and updated by artists including Tony Rice, Clarence White, Richard Green, Bill Keith and David Grisman. The Dillards, however, were the ones to break bluegrass into mainstream markets in the early 1960s.

Following World War II, gospel began its golden age. Artists like the Five Blind Boys of Mississippi, The Swan Silvertones, Clara Ward Singers and Sensational Nightingales became stars across the country; other early artists like Sam Cooke, Dionne Warwick, Dinah Washington, Johnnie Taylor, Aretha Franklin, Wilson Pickett began their career in gospel quartets during this period, only to achieve even greater fame in the 1960s as the pioneers of soul music, itself a secularized, R&B influenced form of gospel. Mahalia Jackson and The Staple Singers were undoubtedly the most successful of the golden age gospel artists.

In addition, doo wop achieved widespread popularity in the 1950s. Doo wop was a harmonically complex style of choral singing that developed in the streets of major cities like Chicago, New York City, and, most importantly, Baltimore. Doo wop singers would work a cappella without backing instruments, and practice in hallways of their schools, apartment buildings, or alleys to achieve echo effects on their voices, and lyrics were generally innocent youthful observations on the upsides of teen love and romance. Groups like The Crows ("Gee"), The Orioles ("It's Too Soon to Know") and Brooklyn's Frankie Lymon & the Teenagers ("Why Do Fools Fall in Love") had a string of hit songs that brought the genre to chart domination by 1958 (see 1958 in music).

Cuban mambo, cha cha chá and charanga bands enjoyed brief periods of popularity, and helped establish a viable Latin American music industry, which led the way to the invention of salsa music among Cubans and Puerto Ricans in New York City in the 1970s. The 1950s also saw success for Mexican ranchera divas, while a Mexican American mariachi scene was developing on the West Coast, and Puerto Rican plena, Brazilian bossa nova and other Latin genres became popular. Mexican Texans had been playing conjunto music for decades by the end of World War 2, female duos created the first popular style of Mexican American music, norteña. Mexican romantic ballads called bolero were also popular, especially singers like the Queen of the Bolero, Chelo Silva. In the mid 1950s, when Mexican ranchera was used in Hollywood film soundtracks and the upper class enjoyed stately orquestas Tejanas and conjunto evolved into a distinctively Mexican American genre called Tejano. Artists of this era include Esteban Jordan, Tony de la Rosa and El Conjunto Bernal.

The 1940s saw a return to the roots of Cajun music, led by Iry LeJeune, Nathan Abshire and other artists, alongside musicians who incorporated rock and roll, including Laurence Walker and Aldus Roger. In the late 1940s, Clifton Chenier, a Creole, began playing an updated form of la la called zydeco. Zydeco was briefly popular among some mainstream listeners during the 1950s. Artists like Boozoo Chavis, Queen Ida, Rockin' Dopsie and Rockin' Sidney have continued to bring zydeco to national audiences in the following decades. Zydeco shows major influences from rock, and artists like Beau Jocque have combined other influences, including hip hop.