Max Martin is the definition of pop since the year 2000; As a songwriter of hits, Backstreet Boys, Britney Spears, until Katy Perry, Ariana Grande, The Weeknd y Justin Timberlake, In the imposition of the Swedish sound to the American pop, Max Martin challenges all the definitions of composition to which the copyright adapted.
At the end of the 90's Max Martin was a DJ and producer, made songs and had world exposure with All That She Wants Of Ace of Base. The hits began with "I want it that way” By Backstreet Boys; But to list the hits this would be a different text.
The pop production changed after 2000. The technique of music and letter that precedes to the production was replaced by a composition version closer to the freestyleof the hip hop, What is known as Track & hook.
One thing as “Ginza (If you need reggaetton dale)“Of J. Balvin does not leave sitting on a piano - neither should he. He finishes shutting himself in a recording studio with the beats Armed, turn on the microphone, throw rhymes and ideas, hit a good hook and from there build the song.
Before, the author alone composed the whole melody and wrote the lyrics. The song was almost finished before entering the recording studio. Under the scheme of Music and lyrics It was clear who the author was. The melody was exalted as a creative element and the arrangement and harmony were discarded as building blocks. The copyright only sees elements of creativity and originality to the melodies, precisely to avoid the monopoly on harmonic strings and individualized chords.
But under the scheme Track & hook The author category is diluted and reassessed. At the time, the underestimation of harmonic elements as non-original, or non-creative, is questioned. In the end, copyright will still not recognize a monopoly on harmony, but will consider granting the music producer credits as a co-author for the way in which the composition process took place.
Now the musical production comes first, the lyrics will come later, the melody will adjust at the same time. Everything is mixed, measured, repeated, edited, fattened and adjusted to cook a song pop.
With "Since U Been Gone” de Kelly Clarkson One can understand composition credits, because Max Martin y Dr. Luke Wrote it and produced it before, barely let Kelly Clarkson sing it - I barely say because they gave it no other possibility of intervention on the work or the production - but "Shake it off"de Taylor Swift Deserves a substantive analysis.
With a talented composer like Swift, formed under the Nashville scheme of Music and lyrics, How do your producers participate as co-authors?
The way of working of Max Martin (and Shellback, The duo Stargate, OrDr. Luke) Emphasizes that the production of the phonogram, in its instrumental elements, prior to the composition as (re) know, are vital part and original creative component of the underlying musical work born from the phonogram (sic).
For Taylor Swift, have Max Martin check the comps, Helps to define repetitions makes it part of the creative process, it gives author quality.
Then the lyricists or the Topliners They once again take power in the chain of creation. Before the Beatles popularized the singer-songwriting scheme, the songs were written far from the artist who performed them (Elvis or Frank Sintra) but under the scheme of Music and lyrics. Among those collaborators were the composers who wrote the melody, and the lyricists who put verses to that melody. The Topliners Are the lyricists of the ephemera Track & hook, Musical producers open their microphones and the Topliner Launches his verses, rhymes, and melodic ideas until he finds a relevant idea, which must be polished and exalted right there to become part of the final cut of the song.
The letter they put it and fits in the canon of protection and originality; And the harmonic base rotates between multiple Topliners, So today's pop can have 5 or 8 authors, without it being an anomaly. Each one brings a minimum verse, a melodic phrase. It is a collaborative process that the transfer of information through the Internet reinforces and revitalizes, breaking the territorial barriers.
What the musical producers of pop That receive composition credits is that without the background, the atmosphere and certainly an original sound base, it is not possible to catalyze the collaboration of lyricists and Topliners.
They can be authors, but that's not to say that every musical producer is an author.
The scheme of composition of many genres continues to be of Music and lyrics (The vallenato, Popular genres, the many variants of rock and the metal); In that scheme the producer will rarely be author.
John Seabrook In his book, The Song Machine Relates to details the industrialized way in which the creation of songs became pop-although the subject of Dr. Luke's abuse of Ke $ ha dismisses it without much discussion.
Critics will point out that Max Martin made all the pop Today sounds exactly the same, and it's true. The excess of hits Makes the formula recognized by the ear so the artist is different, gives a familiarity and helps their traction.
Condemnation and virtue.
In the composition schemeTrack & hook Which proposes the pop Today, music producers can be authors, as active actors in the process of collaborative composition of musical works but that shirt is not one size.