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Music genre
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A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions.[1] Genre is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably.[2]
Music can be divided into genres in numerous ways, sometimes broadly and with polarity, e.g., popular music as opposed to art music or folk music, or, as another example, religious music and secular music. Often, however, classification draws on the proliferation of derivative subgenres, fusion genres, and microgenres that has started to accrue, e.g., screamo, country pop, and mumble rap, respectively. The artistic nature of music means that these classifications are often subjective and controversial, and some may overlap. As genres evolve, novel music is sometimes lumped into existing categories.
Definitions
[edit]Douglass M. Green distinguishes between genre and form in his book Form in Tonal Music. He lists madrigal, motet, canzona, ricercar, and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes about "Beethoven's Op. 61" and "Mendelssohn's Op. 64 ". He explains that both are identical in genre and are violin concertos that have different forms. However, Mozart's Rondo for Piano, K. 511, and the Agnus Dei from his Mass, K. 317, are quite different in genre but happen to be similar in form."[3]
In 1982, Franco Fabbri proposed a definition of the musical genre that is now considered to be normative:[4] "musical genre is a set of musical events (real or possible) whose course is governed by a definite set of socially accepted rules", where a musical event can be defined as "any type of activity performed around any type of event involving sound".[5]
A music genre or subgenre may be defined by the musical techniques, the cultural context, and the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will often include a wide variety of subgenres. Timothy Laurie argues that, since the early 1980s, "genre has graduated from being a subset of popular music studies to being an almost ubiquitous framework for constituting and evaluating musical research objects".[6]
The term genre is generally defined similarly by many authors and musicologists, while the related term style has different interpretations and definitions. Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language".[7] Others, such as Allan F. Moore, state that genre and style are two separate terms, and that secondary characteristics such as subject matter can also differentiate between genres.[4]
Subtypes
[edit]A subgenre is a subordinate within a genre.[8][9] In music terms, it is a subcategory of a musical genre that adopts its basic characteristics, but also has its own set of characteristics that clearly distinguish and set it apart within the genre. A subgenre is also sometimes referred to as a style within the genre.[10][11][12] The proliferation of popular music in the 20th century has led to over 1,200 definable subgenres of music.
A musical composition may be situated in the intersection of two or more genres, sharing characteristics of each parent genre, and therefore belong to each of them at the same time.[5] Such subgenres are known as fusion genres.[citation needed] Examples of fusion genres include jazz fusion, which is a fusion of jazz and rock music, and country rock which is a fusion of country music and rock music.
A microgenre is a niche genre,[13] as well as a subcategory within major genres or their subgenres.
Categorization and emergence of new genres
[edit]The genealogy of musical genres expresses, often in the form of a written chart. New genres of music can arise through the development of new styles of music; in addition to simply creating a new categorization. Although it is conceivable to create a musical style with no relation to existing genres, new styles usually appear under the influence of pre-existing genres.
Musicologists have sometimes classified music according to a trichotomous distinction such as Philip Tagg's "axiomatic triangle consisting of 'folk', 'art' and 'popular' musics".[14] He explains that each of these three is distinguishable from the others according to certain criteria.[14] Tagg maintains that popular music differs from art music through its mass distribution strategy as well as its non-written distribution modes which produces distinct production and consumption patterns between these musical categories.[15]
Automatic recognition of genres
[edit]Automatic methods of musical similarity detection, based on data mining and co-occurrence analysis, have been developed to classify music titles for electronic music distribution.[16][17]
Glenn McDonald, the employee of The Echo Nest, music intelligence and data platform, owned by Spotify, has created a categorical perception spectrum of genres and subgenres based on "an algorithmically generated, readability-adjusted scatter-plot of the musical genre-space, based on data tracked and analyzed for 5,315 genre-shaped distinctions by Spotify" called Every Noise at Once.[18][19]
Alternative approaches
[edit]Alternatively, music can be assessed on the three dimensions of "arousal", "valence", and "depth".[20] Arousal reflects physiological processes such as stimulation and relaxation (intense, forceful, abrasive, thrilling vs. gentle, calming, mellow), valence reflects emotion and mood processes (fun, happy, lively, enthusiastic, joyful vs. depressing, sad), and depth reflects cognitive processes (intelligent, sophisticated, inspiring, complex, poetic, deep, emotional, thoughtful vs. party music, danceable).[20] These help explain why many people like similar songs from different traditionally segregated genres.[20]
Starting from the end of the 20th century, Vincenzo Caporaletti has proposed a more comprehensive distinction of music genres based on the "formative medium" with which a music is created, that is the creative interface (cognitive milieu) employed by the artist. Following this framework, formative media may belong to two different matrixes: visual or audiotactile with regards to the role played in the creative process by the visual rationality or the bodily sensitivity and embodied cognition. The theory developed by Caporaletti, named Audiotactile Music Theory, categorises music in three different branches: 1) written music, like the so-called classical music, that is created using the visual matrix; 2) oral music (like folk music or ethnic music before the advent of sound recording technologies); 3) Audiotactile music, which are process of production and transmission is pivoted around sound recording technologies (for example jazz, pop, rock, rap and so on). These last two branches are created by means of the above-mentioned audiotactile matrix in which the formative medium is the Audiotactile Principle.[21][22]
Major music genres
[edit]Art music
[edit]Art music primarily includes classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world. It emphasizes formal styles that invite technical and detailed deconstruction[23] and criticism, and demand focused attention from the listener. In Western practice, art music is considered primarily a written musical tradition,[24] preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music usually are.[24][25] Historically, most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is usually defined by the notated version rather than by a particular performance and is primarily associated with the composer rather than the performer (though composers may leave performers with some opportunity for interpretation or improvisation). This is so particularly in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is primarily a form of popular music. The 1960s saw a wave of avant-garde experimentation in free jazz, represented by artists such as Ornette Coleman, Sun Ra, Albert Ayler, Archie Shepp and Don Cherry.[26] Additionally, avant-garde rock artists such as Frank Zappa, Captain Beefheart, and the Residents released art music albums.
Popular music
[edit]Popular music is any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects:
Popular music, unlike art music, is (1) conceived for mass distribution to large and often socioculturally heterogeneous groups of listeners, (2) stored and distributed in non-written form, (3) only possible in an industrial monetary economy where it becomes a commodity and (4) in capitalist societies, subject to the laws of 'free' enterprise_ it should ideally sell as much as possible.[14]
The distinction between classical and popular music has sometimes been blurred in marginal areas[27] such as minimalist music and light classics. Background music for films/movies often draws on both traditions. In this respect, music is like fiction, which likewise draws a distinction between literary fiction and popular fiction that is not always precise.
Country music
[edit]Country music, also known as country and western (or simply country) and hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s. The origin of country music stems from European folk music as well as ballads and dance tunes brought by British immigrants who combined these elements with blues and spirituals of African Americans to create a separate musical form.[28]
Electronic music
[edit]Electronic music is music that employs electronic musical instruments, digital instruments, or circuitry-based music technology in its creation. Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music (EDM).
Funk
[edit]Funk is a music genre that originated in African American communities in the mid-1960s when musicians created a rhythmic, danceable new form of music through a mixture of soul, jazz, and rhythm and blues (R&B).
Hip-hop
[edit]
Hip-hop or hip hop (originally known as disco rap, also as hip-hop music and sometimes rap music or rap) is a genre of music that emerged in the early 1970s alongside a hip-hop subculture built by the African-American and Latino communities of New York City. The musical style is characterized by the synthesis of a wide range of techniques, but rapping is frequent enough that it has nearly become a defining characteristic. Other key markers of the genre are the disc jockey (DJ), turntablism, scratching, beatboxing, and instrumental tracks. Cultural interchange has always been central to the hip-hop genre; it simultaneously borrows from its social environment while commenting on it. It can be broadly defined as a stylized rhythmic music that commonly accompanies rapping,[29] a rhythmic and rhyming speech that is chanted.[30]
Jazz
[edit]Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana, United States, in the late 19th and early 20th centuries, with its roots in blues and ragtime.
Latin music
[edit]Latin music is a genre of music that originated in the United States due to the growing influence of Latino Americans in the music industry. It is a term used by the music industry to describe music in a catch-all category for various music styles from Ibero-America.
Pop music
[edit]Pop is a genre of popular music that originated in its modern form during the mid-1950s in the United States and the United Kingdom. The terms popular music and pop music are often used interchangeably, although the former describes all music that is popular and includes many disparate styles.
Punk
[edit]The aggressiveness of the musical and performative style, based on structural simplicity and the vigorous rhythms of rock'n'roll style, reinforced the challenging and provocative character, within the universe of modern music.
Reggae
[edit]Reggae music, originating from the late 1960s Jamaica, is a genre of music that was originally used by Jamaicans to define themselves with their lifestyle and social aspects.[31] The meaning behind reggae songs tend to be about love, faith or a higher power, and freedom.[32] Reggae music is important to Jamaican culture as it has been used as inspiration for many third world liberation movements. Bob Marley, an artist primarily known for reggae music, was honored by Zimbabwe's 1980 Independence celebration due to his music giving inspirations to freedom fighters. The music genre of reggae is known to incorporate stylistic techniques from rhythm and blues, jazz, African, Caribbean, and other genres as well but what makes reggae unique are the vocals and lyrics.[citation needed] The vocals tend to be sung in Jamaican Patois, Jamaican English, and Iyaric dialects. The lyrics of reggae music usually tend to raise political awareness and on cultural perspectives.[33]
Rock music
[edit]Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the late 1940s and early 1950s, developing into a range of different styles in the mid-1960s and later, particularly in the United States and the United Kingdom.
Heavy Metal/Metal music
[edit]Heavy metal evolved from hard rock, psychedelic rock, and blues rock in late 1960s and 1970s with notable acts such as Black Sabbath, Judas Priest and Motörhead. The popularity of heavy metal soared in the 1980s with bands such as Iron Maiden, Metallica and Guns 'n' Roses. It has a rougher style and heavier sound than other forms of rock music, with notable subgenres such as thrash metal, hair metal and death metal.[citation needed]
Soca
[edit]Soca music, or the "soul of calypso", is a genre of music that originated in Trinidad and Tobago in the 1970s. It is considered an offshoot of calypso, with influences from Afro-Trinidadian and Indo-Trinidadian rhythms.[34] It was created by Ras Shorty I (or Lord Shorty)[35][36] in an effort to revive traditional calypso, the popularity of which had been declining amongst younger generations in Trinidad due to the rise in popularity of reggae from Jamaica and soul and funk from the United States. From the 1980s onward, soca has developed into a range of new styles.
Soul music and R&B
[edit]Soul music became a musical genre that came to include a wide variety of R&B-based music styles from the pop R&B acts at Motown Records in Detroit, such as the Temptations, Gladys Knight & the Pips, Marvin Gaye and Four Tops, to "deep soul" singers such as Percy Sledge and James Carr.[37]
Polka
[edit]The polka is originally a Czech dance and genre of dance music familiar throughout Europe and the Americas.[38]
Religious music
[edit]Religious music (also referred as sacred music) is music performed or composed for religious use or through religious influence. Gospel, spiritual, and Christian music are examples of religious music.
Traditional and folk music
[edit]
Traditional and folk music are very similar categories. Although the traditional music is a very broad category and can include several genres, it is widely accepted that traditional music encompasses folk music.[39] According to the ICTM (International Council for Traditional Music), traditional music are songs and tunes that have been performed over a long period of time (usually several generations). [40]
The folk music genre is classified as the music that is orally passed from one generation to another. Usually, the artist is unknown, and there are several versions of the same song.[41] The genre is transmitted by singing, listening and dancing to popular songs. This type of communication allows culture to transmit the styles (pitches and cadences) as well as the context it was developed.[42]
Culturally transmitting folk songs maintain rich evidence about the period of history when they were created and the social class in which they developed.[43] Some examples of the Folk Genre can be seen in the folk music of England and Turkish folk music. English folk music has developed since the medieval period and has been transmitted from that time until today. Similarly, Turkish folk music relates to all the civilizations that once passed thorough Turkey, thereby being a world reference since the east–west tensions during the Early Modern Period.
Traditional folk music usually refers to songs composed in the twentieth century, which tend to be written as universal truths and big issues of the time they were composed.[44] Artists including Bob Dylan; Peter, Paul and Mary; James Taylor; and Leonard Cohen, transformed folk music to what it is known today.[45] Newer composers such as Ed Sheeran (pop folk) and the Lumineers (American folk) are examples of contemporary folk music, which has been recorded and adapted to the new way of listening to music (online)—unlike the traditional way of orally transmitting music.[46]
Each country in the world, in some cases each region, district and community, has its own folk music style. The sub-divisions of folk genre are developed by each place, cultural identity and history.[47] Because the music is developed in different places, many of the instruments are characteristic to location and population—but some are used everywhere: button or piano accordion, different types of flutes or trumpets, banjo, and ukulele. Both French and Scottish folk music use related instruments such as the fiddle, the harp and variations of bagpipes.[48]
Psychology of music preference
[edit]

Social influences on music selection
[edit]Since music has become more easily accessible (Spotify, iTunes, YouTube, etc.), more people have begun listening to a broader and wider range of music styles.[49] In addition, social identity also plays a large role in music preference. Personality is a key contributor for music selection. Those who consider themselves to be "rebels" will tend to choose heavier music styles like heavy metal or hard rock, while those who consider themselves to be more "relaxed" or "laid back" will tend to choose lighter music styles like jazz or classical music.[49] According to one model, there are five main factors that exist that underlie music preferences that are genre-free,[contradictory] and reflect emotional/affective responses.[50] These five factors are:
- A Mellow factor consisting of smooth and relaxing styles (jazz, classical, etc.).
- An Urban factor defined largely by rhythmic and percussive music (rap, hip-hop, funk, etc.).
- A Sophisticated factor (operatic, world, etc.)
- An Intensity factor that is defined by forceful, loud, and energetic music (rock, metal, etc.).
- A campestral factor, which refers to singer-songwriter genres and country.[50]
Individual and situational influences
[edit]Studies have shown that while women prefer more treble oriented music, men prefer to listen to bass-heavy music. A preference for bass-heavy music is sometimes paired with borderline and antisocial personalities.[51]
Age is another strong factor that contributes to musical preference. Evidence is available that shows that music preference can change as one gets older.[52] A Canadian study showed that adolescents show greater interest in pop music artists while adults and the elderly population prefer classic genres such as rock, opera, and jazz.[53]
See also
[edit]- Billboard charts, which defines a list of genres
- Composition school
- List of Grammy Award categories, which defines a list of genres
- List of music genres and styles
- List of radio formats
- List of ID3v1 Genres
- Radio Data System, which enables the tagging of the genre of broadcasts within defined categories
References
[edit]- ^ Samson, Jim (2001). "Genre". Grove Music Online (8th ed.). Oxford University Press. ISBN 978-1-56159-263-0.
- ^ Dannenberg, Roger (2010). Style in Music (PDF) (published 2009). p. 2. Bibcode:2010tsos.book...45D. Archived (PDF) from the original on May 6, 2021. Retrieved March 8, 2021.
- ^ Green, Douglass M. (1965). Form in Tonal Music. Holt, Rinehart, and Winston, Inc. p. 1. ISBN 978-0-03-020286-5.
- ^ a b Moore, Allan F. (2001). "Categorical Conventions in Music Discourse: Style and Genre" (PDF). Music & Letters. 82 (3): 432–442. doi:10.1093/ml/82.3.432. JSTOR 3526163. Archived (PDF) from the original on May 18, 2021. Retrieved April 6, 2021.
- ^ a b Fabbri, Franco (1982), A Theory of Musical Genres: Two Applications (PDF), p. 1, archived (PDF) from the original on December 13, 2020, retrieved April 6, 2021
- ^ Laurie, Timothy (2014). "Music Genre as Method". Cultural Studies Review. 20 (2). doi:10.5130/csr.v20i2.4149.
- ^ van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music. Oxford: Clarendon Press. p. 3. ISBN 978-0-19-316121-4.
- ^ "subgenre". dictionary.com. Archived from the original on February 1, 2016. Retrieved March 8, 2021.
- ^ "Subgenre". The Free Dictionary. Farlex. Archived from the original on November 8, 2021. Retrieved March 8, 2021.
- ^ Ahrendt, Peter (2006), Music Genre Classification Systems – A Computational Approach (PDF), p. 10, archived (PDF) from the original on June 19, 2021, retrieved April 6, 2021
- ^ Philip Tagg, 'Towards a Sign Typology of Music', in Secondo convegno europeo di analisi musicale, ed. Rosanna Dalmonte & Mario Baroni, Trent, 1992, pp. 369–78, at p. 376.
- ^ "Genres and Styles | Discogs". Discogs Blog. Archived from the original on April 5, 2021. Retrieved April 6, 2021.
- ^ Stevens, Anne H.; O'Donnell, Molly C., eds. (2020). The Microgenre: A Quick Look at Small Culture. Bloomsbury Publishing. pp. 1–6. ISBN 978-1-5013-4583-8. Archived from the original on November 29, 2023. Retrieved March 8, 2021.
- ^ a b c Tagg, Philip. "Analysing Popular Music: Theory, Method and Practice". Popular Music 2 (1982): 41.
- ^ Tagg, Philip (January 1982). "Analysing popular music: theory, method and practice". Popular Music. 2: 37–67. doi:10.1017/S0261143000001227. ISSN 1474-0095.
- ^ François Pachet, Geert Westermann, Damien Laigre. "Musical Data Mining for Electronic Music Distribution" Archived March 27, 2014, at the Wayback Machine. Proceedings of the 1st WedelMusic Conference sou, pp. 101–106, Firenze, Italy, 2001.
- ^ Janice Wong (2011). "Visualising Music: The Problems with Genre Classification". Archived from the original on August 7, 2016. Retrieved December 15, 2014.
- ^ Fitzpatrick, Rob (September 4, 2014). "From Charred Death to Deep Filthstep: The 1,264 Genres That Make Modern Music". The Guardian. Archived from the original on August 17, 2016. Retrieved December 15, 2016.
- ^ "Every Noise at Once". everynoise.com. Archived from the original on April 5, 2021. Retrieved April 6, 2021.
- ^ a b c Greenberg, David Michael (August 3, 2016). "Musical genres are out of date – but this new system explains why you might like both jazz and hip hop". The Conversation. Archived from the original on August 8, 2016. Retrieved August 8, 2016.
- ^ Vincenzo Caporaletti (2005). I processi improvvisativi nella musica. Lucca: LIM. ISBN 88-7096-420-5.
- ^ Vincenzo Caporaletti (2019). Introduzione alla teoria delle musica audiotattili. Roma: Aracne. ISBN 978-88-255-2091-0.
- ^ Siron, Jacques. "Musique Savante (Serious Music)". Dictionnaire des mots de la musique (Paris: Outre Mesure): 242.
- ^ a b Arnold, Denis: "Art Music, Art Song", in The New Oxford Companion to Music, Volume 1: A-J (Oxford and New York: Oxford University Press, 1983): 111.
- ^ Tagg, Philip. "Analysing Popular Music: Theory, Method and Practice". Popular Music 2 (1982): 37–67, here 41–42.
- ^ Anon. Avant-Garde Jazz Archived July 28, 2020, at the Wayback Machine. AllMusic.com, n.d.
- ^ Arnold, Denis (1983): "Art Music, Art Song", in The New Oxford Companion to Music, Volume 1: A-J, Oxford University Press, p. 111, ISBN 0-19-311316-3.
- ^ Country Music USA: 50th Anniversary Edition. University of Texas Press. 2018. doi:10.7560/315347. ISBN 978-1-4773-1536-1.
- ^ "Definition of HIP HOP". Merriam-Webster. Archived from the original on July 28, 2016. Retrieved March 13, 2019.
- ^ "Rap | music". Encyclopedia Britannica. Archived from the original on October 4, 2023. Retrieved March 13, 2019.
- ^ "ATH 175 Peoples of the World". www.units.miamioh.edu. Archived from the original on February 18, 2020. Retrieved February 19, 2020.
- ^ Daynes, Sarah (May 16, 2016). Time and memory in reggae music: The politics of hope. Manchester University Press. ISBN 978-1-84779-287-7. Archived from the original on August 4, 2020. Retrieved February 19, 2020 – via www.manchesterhive.com.
- ^ Dagnini, Jérémie Kroubo (May 18, 2011). "The Importance of Reggae Music in the Worldwide Cultural Universe". Études caribéennes (16). doi:10.4000/etudescaribeennes.4740. ISSN 1779-0980. Archived from the original on February 23, 2019. Retrieved February 17, 2019.
- ^ "The Birth of Soca". Google Arts & Culture. Retrieved December 18, 2024.
- ^ Gentle Benjamin (October 2, 2010), G.B.T.V. CultureShare ARCHIVES 1995: RAS SHORTY I "Interview" Seg#1of 2, archived from the original on December 23, 2015, retrieved November 23, 2018
- ^ Beausoleil, Annel (August 19, 2022). "Honouring the Inventor of Soca - Ras Shorty I". Soca News. Retrieved December 19, 2024.
- ^ "Motown: The Sound that Changed America". Motown Museum. Archived from the original on October 11, 2016. Retrieved October 27, 2016.
- ^ Gracian Černušák, revised by Andrew Lamb and John Tyrrell, "Polka (from Cz., pl. polky )", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
- ^ "What is Traditional Music? – a broad definition". www.traditionalmusic.org. Archived from the original on March 28, 2019. Retrieved March 29, 2019.
- ^ "Home | International Council for Traditional Music". ictmusic.org. Archived from the original on March 29, 2019. Retrieved March 29, 2019.
- ^ "EarMaster – Music Theory & Ear Training on PC, Mac and iPad". www.earmaster.com. Archived from the original on March 28, 2019. Retrieved March 29, 2019.
- ^ Albrecht, Joshua; Shanahan, Daniel (February 1, 2019). "Examining the Effect of Oral Transmission on Folksongs". Music Perception. 36 (3): 273–288. doi:10.1525/mp.2019.36.3.273. ISSN 0730-7829. S2CID 151252405.
- ^ "Folk music". Encyclopedia Britannica. Archived from the original on October 28, 2022. Retrieved March 29, 2019.
- ^ "Traditional Folk Music Songs". AllMusic. Archived from the original on March 29, 2019. Retrieved March 29, 2019.
- ^ "Mystique Music – Music Licensing". mystiquemuzik.com. Archived from the original on December 18, 2019. Retrieved December 18, 2019.
- ^ Patenall, Ella (April 1, 2017). "Is folk music dying out?". Naz & Ella. Archived from the original on August 4, 2020. Retrieved April 2, 2019.
- ^ "The general character of European folk music". www.cabrillo.edu. Archived from the original on August 17, 2019. Retrieved April 1, 2019.
- ^ "Traditional Scottish Music". English Club TV On-the-Go. October 29, 2015. Archived from the original on April 10, 2019. Retrieved April 4, 2019.
- ^ a b Chamorro-Premuzic, Tomas (January 14, 2011). "The Psychology of Musical Preferences". Psychology Today. Archived from the original on November 29, 2023. Retrieved March 27, 2019.
- ^ a b Rentfrow, Peter J.; Goldberg, Lewis R.; Levitin, Daniel J. (2011). "The structure of musical preferences: A five-factor model". Journal of Personality and Social Psychology. 100 (6): 1139–1157. doi:10.1037/a0022406. ISSN 1939-1315. PMC 3138530. PMID 21299309.
- ^ McCown, William; Keiser, Ross; Mulhearn, Shea; Williamson, David (October 1997). "The role of personality and gender in preference for exaggerated bass in music". Personality and Individual Differences. 23 (4): 543–547. doi:10.1016/s0191-8869(97)00085-8.
- ^ Bonneville-Roussy, Arielle; Rentfrow, Peter J.; Xu, Man K.; Potter, Jeff (2013). "Music through the ages: Trends in musical engagement and preferences from adolescence through middle adulthood". Journal of Personality and Social Psychology. 105 (4): 703–717. doi:10.1037/a0033770. PMID 23895269.
- ^ Schwartz, Kelly; Fouts; Gregory (2003). "Music preferences, personality style, and developmental issues of adolescents". Journal of Youth and Adolescence. 32 (3): 205–213. doi:10.1023/a:1022547520656. S2CID 41849910.
Further reading
[edit]- Holt, Fabian (2007). Genre in Popular Music. Chicago: University of Chicago Press.
- Negus, Keith (1999). Music Genres and Corporate Cultures. New York: Routledge. ISBN 978-0-415-17399-5.
- Starr, Larry; Waterman, Christopher Alan (2010). American popular music from minstrelsy to MP3. Oxford University Press. ISBN 978-0-19-539630-0.
Music genre
View on GrokipediaConceptual Foundations
Etymology and Historical Development
The term "genre" originates from the Latin genus, denoting "kind" or "type," which entered Old French as genre and was adopted into English by the early 19th century to categorize literary and artistic forms.[5] In musical contexts, it initially referred to structural forms such as the sonata or fugue, rather than broad stylistic groupings, reflecting a focus on compositional rules over cultural or market-driven labels. Prior to the 20th century, musical classification emphasized functional, regional, or formal attributes rather than discrete genres as understood today. Ancient Greek theorists like Plato categorized modes by their ethical effects on listeners, associating certain scales with moral or emotional outcomes, while medieval and Renaissance traditions divided music into sacred (e.g., Gregorian chant) and secular forms based on liturgical or courtly purposes.[6] Composers and theorists from the Baroque through Romantic eras (c. 1600–1900) grouped works by period styles—such as polyphony in the Baroque or symphonic development in the Classical—or by social utility, as seen in folk collections like those by Samuel Pepys in the 17th century, which organized ballads by themes of devotion, morality, or narrative.[6] This approach prioritized music's role in communal rituals or elite patronage over stylistic commodification. The modern concept of music genres as marketable stylistic categories accelerated with the advent of sound recording technology, beginning with Thomas Edison's phonograph in 1877, which enabled mass dissemination and necessitated labels for cataloging and sales.[7] By the early 20th century, the recording industry and radio broadcasting drove genre proliferation, with terms like "blues" emerging around 1910 to describe African American vernacular styles commercialized by labels such as OKeh Records, and "jazz" gaining traction post-1917 via New Orleans ensembles.[8] Genre names often arose organically from performers (e.g., Bill Monroe's "bluegrass" in 1938), lyrical motifs (e.g., "doo-wop" from 1950s scat syllables), or industry shorthand (e.g., Billboard's "rhythm & blues" in 1947), reflecting causal pressures from urbanization, migration, and consumer marketing rather than purely musical divergence.[8] Musicologist Franco Fabbri later formalized this in 1982, defining a genre as "a set of musical events (real or possible) whose course is governed by a definite set of socially accepted rules," underscoring its social and conventional underpinnings.[9]Core Definitions and Criteria
A music genre refers to a set of musical events, whether actual or conceivable, whose progression is regulated by a specific array of socially ratified conventions.[9] This conceptualization, advanced by music semiotician Franco Fabbri in 1981, underscores genres as dynamic constructs emergent from communal consensus rather than immutable essences, accommodating both established traditions and hypothetical compositions aligned with prevailing norms. Genres thus serve as classificatory frameworks that aggregate compositions exhibiting stylistic affinities, though their delineations remain inherently permeable, often evolving through cultural negotiation and perceptual categorization.[10] Central to genre identification are parameters delineating the rules governing musical practice, as outlined by Fabbri across five interrelated dimensions. The formal-structural parameter encompasses compositional architectures, such as recurring forms, scalar systems, and temporal organizations, which furnish genres with distinctive skeletal frameworks—evident, for instance, in the sonata form's prevalence within Western classical music or the verse-chorus structure in contemporary pop.[9] The instrumental parameter addresses timbres, orchestration, and idiomatic techniques tailored to specific apparatuses, differentiating, say, the amplified distortion of electric guitars in rock from the bowed precision of string quartets in chamber music. Complementing these, the performance parameter incorporates interpretive behaviors, including execution dynamics, audience interactivity, and performative ethos, which codify expectations like improvisational spontaneity in jazz versus scripted fidelity in orchestral renditions.[9] For vocally oriented genres, the linguistic parameter evaluates textual components, including syntactic conventions, lexical registers, and rhetorical devices, as seen in the narrative density of folk ballads versus the phonetic minimalism in certain rap substyles. Overarching these is the social parameter, which embeds genres within communal matrices of validation, encompassing demographic affiliations, ritualistic roles, and ideological resonances that sustain genre viability through collective endorsement.[9] These criteria interlock to forge genre coherence, yet empirical analyses reveal fuzzy boundaries, with subgenres arising from parametric divergences and hybridizations challenging taxonomic rigidity—affinity judgments often hinging on perceptual prototypes, contextual alignments, and symbolic veracity rather than exhaustive rule adherence.[10] Such fluidity reflects genres' origins in cognitive pattern recognition, subsequently institutionalized via social discourse, ensuring adaptability to auditory innovations while preserving referential utility.[10]Subtypes and Hierarchical Structures
Hierarchical structures in music genres typically organize styles into tree-like taxonomies, with parent genres branching into subtypes or subgenres based on shared sonic traits, historical lineages, or cultural adaptations, enabling systematic analysis and digital classification. These hierarchies often span multiple levels, as seen in music information retrieval frameworks where broad categories like "rock" nest under "popular music" and further subdivide into variants distinguished by tempo, distortion levels, or lyrical themes. Such nesting reflects causal evolutions, such as stylistic mutations from technological innovations or regional scenes, rather than arbitrary labels.[11][12][13] In Western classical music, subtypes primarily follow chronological periods that delineate shifts in form, harmony, and orchestration: the Baroque era (approximately 1600–1750) emphasized polyphony and ornamentation; the Classical period (1750–1820) prioritized balance and sonata form; and the Romantic era (1820–1900) favored emotional expressivity and expanded orchestration. These periods function as hierarchical subtypes within the overarching classical genre, with further subdivisions by form (e.g., symphony, concerto) or national schools (e.g., German Romanticism). This temporal hierarchy stems from empirical documentation of compositional practices, though boundaries remain approximate due to transitional works.[14][15] Popular music genres exhibit more fluid, branching hierarchies driven by commercial and subcultural divergences; for instance, rock—emerging post-World War II—subdivides into hard rock (intensified electric guitar riffs, 1960s onward), punk (raw minimalism, mid-1970s UK/US scenes), and progressive rock (complex structures, late 1960s UK), with heavy metal as a hard rock offshoot further ramifying into thrash (high-speed aggression, 1980s) and death metal (growled vocals, extreme tempos, 1980s Florida/Scandinavia). Similarly, electronic dance music hierarchies trace from disco influences to house (repetitive four-on-the-floor beats, Chicago 1980s), branching into techno (minimalist, Detroit 1980s) and drum and bass (breakbeat acceleration, UK 1990s). These structures, mapped in genealogical models, highlight fusions like blues-rock informing hard rock, supported by audio feature analyses showing acoustic divergences.[13][16] Cross-genre subtypes arise via hybridization, such as jazz fusion (1960s–1970s) blending jazz improvisation with rock amplification, or folk subgenres like Americana (roots revival, 1990s US) nesting under broader folk traditions. Computational taxonomies, using multi-label hierarchies, achieve higher classification accuracy (e.g., 70–80% in layered models versus flat ones) by capturing these relations through spectral and rhythmic features. Limitations persist, as subjective listener perceptions can flatten perceived hierarchies, per empirical surveys rating subgenre typicality variably within parents like pop or blues.[11][17]Classification Methods
Traditional and Ethnographic Approaches
Traditional approaches to music genre classification, predating systematic ethnomusicology, relied on scholarly analysis of musical structures, instrumentation, and cultural associations by musicologists and folklorists. These methods categorized genres based on observable traits such as rhythmic patterns, melodic forms, and performance contexts derived from notations, historical records, and early recordings, often prioritizing Western or regional stylistic conventions. For example, 19th-century folklorists like the Brothers Grimm or Cecil Sharp classified English and German folk songs by thematic content and oral transmission lineages, treating genres as stable cultural artifacts tied to community practices.[18] Such classifications emphasized etic perspectives, imposing external frameworks on music without deep immersion in performer viewpoints.[19] Ethnographic approaches, central to ethnomusicology since its formalization, shift focus to immersive fieldwork for understanding genres as socially constructed categories. Coined by Jaap Kunst in 1950 to describe the study of music in cultural contexts, ethnomusicology employs methods like participant observation, where researchers live among communities to document performances and learn repertoires firsthand.[20][21] This reveals emic classifications—insider distinctions based on local nomenclature, social functions, and ritual significance—contrasting with outsider etic impositions.[22][23] Interviews with informants and audio recordings capture genre boundaries fluidly defined by context, such as distinguishing work songs from ceremonial pieces in Indigenous traditions.[24][25] These methods highlight genres' embeddedness in cultural transmission, with fieldwork enabling transcription and analysis of variants across performances. In non-Western contexts, like Afghan folk music, ethnomusicologists classify subgenres by regional styles, poetic structures, and instrumental ensembles through direct observation, avoiding universal metrics.[26] However, challenges include researcher bias and the influence of globalization on traditional categories, prompting ongoing refinement via longitudinal studies.[27] This human-centered paradigm privileges empirical cultural data over abstracted features, though it demands rigorous ethical protocols for community consent and representation.Computational and Data-Driven Techniques
Computational techniques for music genre classification emerged in the early 2000s, driven by advances in digital signal processing and machine learning, enabling automated analysis of audio signals to categorize music into genres without relying solely on human expertise.[28] Pioneering work, such as George Tzanetakis's 2001 ISMIR paper, introduced hierarchical classification using features like timbral texture, rhythmic content, and instrumental attributes extracted from audio clips, achieving initial accuracies of around 60-70% on small datasets.[28] These methods process raw audio into quantifiable descriptors—such as Mel-frequency cepstral coefficients (MFCCs), zero-crossing rates, spectral flux, and beat histograms—to represent perceptual qualities empirically measurable from waveforms.[29] Data-driven approaches leverage large-scale datasets for training models, with the GTZAN dataset, introduced in 2002, serving as a foundational benchmark containing 1,000 30-second clips across 10 genres like rock, classical, and hip-hop.[30] Traditional machine learning classifiers, including support vector machines (SVMs) and k-nearest neighbors (kNN), were applied to these features, yielding accuracies up to 70-80% in early studies, though limited by dataset size and feature hand-engineering.[31] The shift to deep learning in the 2010s marked a significant advance, with convolutional neural networks (CNNs) processing spectrograms—visual representations of frequency over time—as inputs, often surpassing 85% accuracy on GTZAN by learning hierarchical patterns directly from data.[32] Recent developments incorporate recurrent neural networks (RNNs) like LSTMs and BiLSTMs to capture temporal dependencies in music sequences, enhancing classification for rhythmic genres.[30] Ensemble methods, such as parallel CNNs, and data augmentation techniques—like time-stretching or pitch-shifting clips—address overfitting on imbalanced datasets, with reported accuracies reaching 90-95% on expanded corpora like the Free Music Archive (FMA) dataset, which includes over 100,000 tracks across 16-50 genres.[33] Capsule networks and hybrid models combining CNNs with feedforward networks further refine genre boundaries by modeling part-whole relationships in audio hierarchies.[34] These techniques prioritize empirical validation through cross-validation and confusion matrices, revealing persistent challenges in distinguishing culturally overlapping genres, yet demonstrating causal links between acoustic properties and genre labels via predictive performance.[35]| Technique | Key Features | Typical Accuracy (GTZAN) | Example Reference |
|---|---|---|---|
| SVM/kNN | MFCCs, spectral features | 70-80% | [31] |
| CNN (Spectrogram-based) | 2D convolutions on mel-spectrograms | 85-92% | [32] |
| LSTM/BiLSTM | Sequential modeling of audio frames | 80-90% | [30] |
| Ensemble/Hybrid | Data augmentation + multiple nets | 90-95% | [33] |
