Musical Genres And The Musical Genre

Glam rock is usually viewed as an inconsequential rock sub-genre. It is often forgotten in the abundance of genres that originated in the 1970s, and it is often neglected completely as a major genre at all in America. Critics slammed the new genre, calling it hype-driven and plastic. One argument held that glam rock was typically seen as insignificant because it did not have a long life, nor did it capture the attention of the world. Glam rock was popular in the UK, but even there, it was short-lived and only popular amongst teens who missed out on the pop culture and hippie ideology of the late 1960s. Glam rock, then, may seem a genre that is worth forgetting, except that glam rock laid the foundations of the modern popular music

In conclusion, the music preferences of consumers can affect and influence their behavior to a certain extent. Under consumers’ subculture of music consumption, their behaviors can be influenced by internal factors such as self-concept, self-representation, and self-expression, as well as external factors such as friends, musicians, celebrities and social media as an influence.

Popular music is often one of the best lenses we have through which to view our own cultural orientation. Many of the artistic and experimental shifts in popular music have mirrored changes in our own society. For instance, the emergence of Elvis Presley as a public figure would signal the start of a sexual revolution and the growth in visibility of a rebellious youth culture. Similarly, the folk and psychedelic music of the 1960s was closely entangled with the Civil Rights, anti-war and social protest movements. In this regard, we can view popular music as an artifact through which to better understand the time and place in which it is produced. In light of this, the state of popular music today may suggest troubling things about our society.

When people think of popular music they think of party beats created for pure entertainment and nothing more. People do not see this genre of music as capable of anything else. The stigma of popular music only being a form of amusement for the mass consumer is challenged when artists use music to attract attention to social issues. This paper intends to show how music like Raï challenge the thought that popular music is only for entertainment.

When creating music, there must be something that appeals to the audience. Music in this age must now be more original than ever. New genres of music are being born at a rapid pace, which makes being original a difficult task. “Re-Tuning the Music Industry—Can They Re-Attain Business Resonance?” by Sudip Bhattacharjee, et al, writers for Communication of the ACM, makes the following statement: “Each song is unique. Artists strive to be distinctive and constantly adapt and innovate their offering. Consequently, music consumers face non-trivial search and evaluation tasks prior to each music purchase.” (Bhattacharjee 136). The willingness for consumers to buy music, whether it is an album or just one single song, increases when the music is something they have never heard of before. A band such as Nirvana was able to do just that. In the

The idea of musical genres seems to play an important role in the realm of popular music. People tend to categorise different kinds of popular music through the various names and labelling which are presumably formed based on the different styles and characteristics that could be found in popular music. For instance, if someone is being asked about their favourite music, usually they will most likely to mention several musical genres instead of describing the stylistic features of the kind of music that they are fond of. Moreover, people often grouped themselves in terms of their musical preferences based on the existing musical genres. Nevertheless, apparently musical genres do not always represent the distinction of musical features and styles.

Questioning the correlation of commercial success and true artistry began in the light of mainstream music. Mainstream music has been given a negative connotation due to the supposed lack of originality of the artists. Repetitive chord progressions and meaningless lyrics compose the majority of “mainstream music,” making each song sound like the next . Despite these patterns in music, artists still ventured outside of what was societally normal and created music that was unheard of. Despite the potential risks in being an individual in the music industry, several groups achieved high success and maintain the popularity in the present. Creativity and commercial success can definitely exist alongside one another, and this paper will prove that through the music of the Beatles, the performance styles of David Bowie, and the grunge movement in Seattle which was fueled by Nirvana.

The one thing that clearly defines America is the music.The music of this generation is incredible.First off you can listen to anything you want with no judgment, You can even make Devoted friends over the music. You have Jazz music and Musicals, Pop and Rap, Hardcore and Deathcore music,Kpop and Dubstep, you name it it’s out there somewhere and you can listen to it.Therefore so many people go to music types on an impulse.Consequently I listen to almost every kind of music, I like to have my friends send me music they’re into. I can learn more about that friend; the music someone listens to really does say a lot about them. Therefore,I also extend my knowledge and love for different types of music.

The fact that replicating a seventeen-years-old song can still become a hit in 2017, demonstrates that there is a pre-designed pattern for popular music in which changing a few characteristics to make a new songs sound “unique” can still result in success. For this reason, Adorno argues that the music industry produces music in an “industrial” way--popular music is centralized in its pattern and modifies some characteristics to seem “individualistic.” Though Shape of You and No Scrubs contain different keys, tempo, and of course, lyrics, they both rely on a chord progression of i-ic-VI-VII in a common time (MusicNotes, 1 & FindSongTempo, 1). Shape of you takes advantage that the audience is accustomed to listening to the same pattern and it is modified to fit the current era and thus, result in a significant monetary income.

This essay will evaluate Adorno’s critical attack on popular music. The essay will briefly provide some context on Adorno. Adorno claims that “listeners are made not born”, thus listening is a cultural practice, in which modernity has transformed into a profit (Adorno, 2002:248). By this, the essay will begin by focusing on the broader idea of the culture industry, in terms of commodities and popular music as not being critical. Following on, particular focus will be given to three main areas which convey Adorno’s criticism of popular music. These being, the musical form under standardisation, pseudo-individualisation and regressive listening in terms of escapism. Standardisation will be evaluated in structural terms, and critiqued by Middleton (1990) and Witkin (2003). Adorno’s critique of popular music can only be understood in relation to his analysis of serious music, therefore, the essay will focus on both types of music. Adorno’s criticisms of popular music and critics of this criticism, will enable for a conclusion to be drawn on whether or not I agree with Adorno’s claims on popular music.

In this article, Peterson and Berger show how the organization of the popular music industry affects the music that America hears.

Commodity is a word that is becoming increasingly associated with the music industry, as women are pressured to put out a sexual image. Commodification in the music industry and society has been present for many years. However this ubiquitous injustice has only been highlighted more recently, due to more people speaking out about how wrong it is. I have chosen to write about this topic as I believe is it relevant to today’s society of gender equality. My topic explores all the ideas surrounding my hypothesis of “To what extent has the Female body been commodified in the music industry, from the 1970’s to present day?” Through the use of a questionnaire, my research and history timeline, I aim to link the environment of the music industry to

Genre is known to change discourse by the format the information is presented to the audience (Varela, 2008). It is also a category of composition that is characterized by a particular style, form or content as dictate by Webster Third Dictionary. However Trosborg (n.d) stated that for the past decade, genre identification, classification and description have been scholarly concern. Certain scholars dictate that genre is defined primarily around its basic external criteria such as journals and newspaper discourse while other scholars stand on the opinion that genre can be classify by its communicative purpose, linguistic content and form of role its play in the discourse made (Trosborg, n.d).

The popular culture of music has changed dramatically over the course of sixty five years. Since this time, new genres of music have been introduced, existing genres have changed, and fixed stereotypes have been associated with certain genres of music. Music has become a major part of popular culture, and is portrayed almost everywhere in first world societies, including on television, radio, at shopping centers, sporting events and in every area of popular culture. Music has become a major part of popular culture, and continues to strive and develop into more and diverse areas of culture.

The music industry has been around for over two centuries (PBS). Its volatility can be measured by its ability to shift and change according to its time period, the technologies that arise through the ages and the public’s shift in musical taste. The music industry is comprised of many different components, organizations and individuals that operate within it. Some of these components include the artists who compose the music themselves, the producers that engineer the sounds created by the artists, the companies that handle distribution and promotion of the recorded music, the broadcasters of the music such as radio