Catchiness in the context of "Songwriting"

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⭐ Core Definition: Catchiness

Catchiness is how easy it is for a song, tune, or phrase to be recalled. It is often taken into account when writing songs, catchphrases, advertising slogans, jingles etc. Alternatively, it can be defined as how difficult it is for one to forget it. Songs that embody high levels of remembrance or catchiness are referred to as "catchy songs" or "earworms". While it is hard to scientifically explain what makes a song catchy, there are many documented techniques that recur throughout catchy music, such as repetition, hooks and alliteration. Selling Sounds: The Commercial Revolution in American Music says that "although there was no definition for what made a song catchy, all the songwriting guides agreed that simplicity and familiarity were vital".

The physical symptoms of listening to a catchy song include "running [it] over in our heads or tapping a foot". According to Todd Tremlin, catchy music "spread[s] because [it] resonates similarly from one mind to the next".

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Catchiness in the context of Julius Eastman

Julius Eastman (October 27, 1940 – May 28, 1990) was an American composer. He was among the first composers to combine the processes of some minimalist music with other methods of extending and modifying his music as in some experimental music. He thus created what he called "organic music". In compositions like Stay On It (1973), his melodic motifs were not unlike the catchy refrains of then pop music.

He studied performance and composition in New York and contributed to new music scenes in New York, Buffalo, and Chicago, touring and recording as a performer and enjoying many performances of his own music. As a conductor, musician, and vocalist, he had a close artistic relationship with Arthur Russell and worked briefly with Meredith Monk and Pierre Boulez. His voice is that of Peter Maxwell Davies' Mad King on Nonesuch Records. He worked in a variety of musical styles, including classical, jazz, and crossover.

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