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By Miriam Makeba
Albums
By Miriam Makeba
All About Miriam
December 6, 2017
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Pop
Pop is a broad, hook-driven style of popular music designed for wide appeal. It emphasizes memorable melodies, concise song structures, polished vocals, and production intended for radio, charts, and mass media. While pop continually absorbs elements from other styles, its core remains singable choruses, accessible harmonies, and rhythmic clarity. Typical forms include verse–pre-chorus–chorus, frequent use of bridges and middle-eights, and ear-catching intros and outros. Pop is not defined by a single instrumentation. It flexibly incorporates acoustic and electric instruments, drum machines, synthesizers, and increasingly digital production techniques, always in service of the song and the hook.
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Folk
Folk is a song-centered acoustic tradition rooted in community storytelling, everyday life, and social history. It emphasizes clear melodies, simple harmonies, and lyrics that foreground narrative, protest, and personal testimony. As a modern recorded genre, folk coalesced in the early-to-mid 20th century in the United States out of older ballad, work song, and rural dance traditions. It typically features acoustic instruments (guitar, banjo, fiddle, mandolin, harmonica), strophic song forms, and participatory singing (choruses, call-and-response).
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Marabi
Marabi is a South African urban dance music that emerged in the townships around Johannesburg during the 1920s. It is built on hypnotic, cyclical chord vamps—often a simple I–IV–I–V loop—played on cheap pedal organs or upright pianos in informal drinking houses known as shebeens. Blending African melodic phrasing and call-and-response with the syncopation and harmonic language of American ragtime, stride, and early jazz/swing, marabi created an irresistibly danceable groove. As the style moved from small shebeen settings to larger ensembles, saxophones, trumpets, guitar/banjo, bass, and drums amplified its energy and helped define what became known as “township jazz.” Marabi’s infectious vamps and social vitality laid the groundwork for later South African genres such as kwela and mbaqanga.
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Every Noise at Once
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