Banding Together: How Communities Create Genres in Popular by Jennifer C. Lena

By Jennifer C. Lena

Why do a little track types achieve mass attractiveness whereas others thrive in small niches? Banding Together explores this query and divulges the attributes that jointly clarify the expansion of twentieth-century American well known tune. Drawing on an unlimited array of examples from sixty musical styles--ranging from rap and bluegrass to loss of life steel and South Texas polka, and together with a number of created outdoor the United States--Jennifer Lena uncovers the shared grammar that permits us to appreciate the cultural language and evolution of renowned music.

What are the typical fiscal, organizational, ideological, and aesthetic characteristics between modern genres? Do genres persist with styles of their improvement? Lena discovers 4 dominant forms--Avant-garde, Scene-based, Industry-based, and Traditionalist--and dominant trajectories that describe how American pop tune genres strengthen. open air the USA there exists a 5th shape: the Government-purposed style, which she examines within the song of China, Serbia, Nigeria, and Chile. delivering a unprecedented research of ways track groups function, she seems on the shared hindrances and possibilities artistic humans face and divulges the ways that humans collaborate round rules, works of art, members, and organisations that aid their work.

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This AgSIT genre trajectory (I coin the term by abbreviating the sequence of four genre forms) characterizes fifty-­one of the sixty musics examined for this study. Some eight musical styles manifested a variation on this trajectory because they originated as Scene-­based genres. A final group of nine musics started as Industry-­based genres, and then developed Scene-­based and Traditionalist genre forms, and this second trajectory is therefore abbreviated IST. The first objective of chapter 3 is to identify these two trajectories and illustrate them with examples from several musical styles, including gospel and funk.

60 Performers and fans sometimes reject particular names that are seen to have been invented by firms seeking to profit from the music, designating these terms as inauthentic. ” he responded, “I never liked that adjective. It was used for identifying a series of rhythms coming from the Caribbean area in order to sell it to North Americans and the rest of the world.  . ”61 Indeed, some genre designations have been created by fiat by powerful elements of the music industry, as when, on June 25, 1949, Billboard magazine introduced the “Rhythm and Blues” (R&B) chart to represent the best-­selling records in the diverse and contending genres in the field of popular black music.

The performers who work exclusively within pop music, and no other musical idiom, are typically industry creations. , Backstreet Boys, O-­Town, and ’N Sync) by drafting performers who answered casting calls. Such star making is a fascinating and underresearched topic. Music from genres can transform into pop music; consequently, the pop charts are a mix of “pure” pop (that is to say, a succession of hits that are marginally different) and songs derived from genres that are popular at the moment, such as rap or punk.

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