Genre Of Music Quotes

If Music is a Place -- then Jazz is the City, Folk is the Wilderness, Rock is the Road, Classical is a Temple.

Hardcore without punk isn't music, it's a genre of porn. And punk isn't a genre of music, it’s a thought process.

Great music completely obliterates any conceptions of genre.

I don't believe any genre of music can be unilaterally dismissed (aside from like, white-power music or something).

I'm grateful when anybody can start to have his or her limited perception of the genre open up a little bit, ... There's a lot of great music in the country genre that doesn't get heard because people say, 'Well, I don't like country.

As Duke Ellington once said, “There are simply two kinds of music, good music and the other kind.” In that sense, jazz and classical music are fundamentally the same. The pure joy one experiences listening to “good” music transcends questions of genre.

I have yet to find a genre of music I enjoy; it’s basically audible physics, waves and energized particles, and, like most sane people, I have no interest in physics. It therefore struck me as bizarre that I was humming a tune from Oliver! I mentally added the exclamation mark, which, for the first time ever, was appropriate.

In the nineteenth century, poetry was a bestselling genre rather than the cultish phenomenon it is now.

I have yet to find a genre of music I enjoy; it’s basically audible physics, waves and energized particles, and, like most sane people, I have no interest in physics.

In this room, there is no 'chick music'. There is o 'dude music' or 'bro music'. There is music. Period. There are different musical genres. There are male and female musical artists. But music is music." -Donna

The most interesting of the classic movie genres to me are the indigenous ones: the Western, which was born on the Frontier, the Gangster Film, which originated in the East Coast cities, and the Musical, which was spawned by Broadway. They remind me of jazz: they allowed for endless, increasingly complex, sometimes perverse variations. When these variations were played by the masters, they reflected the changing times; they gave you fascinating insights into American culture and the American psyche.

RJD was pretty much heavy metal personified, a tiny 5-foot-4-inch sorcerer with a mangy mane, demonic eyes and sly grin, all coupled to a simply huge, operatic voice, a diminutive powerhouse who prowled the stage like a feline elf and who was, it turns out, also finely intelligent and well spoken, an actual gentleman in a genre known all too well for its bombastic, monosyllabic doltbuckets. A rare thing indeed.

(On disco) I don't consider that a genre as much as a level of hell.

I was always fishing for something on the radio. Just like trains and bells, it was part of the soundtrack of my life. I moved the dial up and down and Roy Orbison's voice came blasting out of the small speakers. His new song, "Running Scared," exploded into the room. Orbison, though, transcended all the genres - folk, country, rock and roll or just about anything. His stuff mixed all the styles and some that hadn't even been invented yet. He could sound mean and nasty on one line and then sing in a falsetto voice like Frankie Valli in the next. With Roy, you didn't know if you were listening to mariachi or opera. He kept you on your toes. With him, it was all about fat and blood. He sounded like he was singing from an Olympian mountaintop and he meant business. One of his previous songs, "Ooby Dooby" was deceptively simple, but Roy had progressed. He was now singing his compositions in three or four octaves that made you want to drive your car over a cliff. He sang like a professional criminal. Typically, he'd start out in some low, barely audible range, stay there a while and then astonishingly slip into histrionics. His voice could jar a corpse, always leave you muttring to yourself something like, "Man, I don't believe it." His songs had songs within songs. They shifted from major to minor key without any logic. Orbison was deadly serious - no pollywog and no fledgling juvenile. There wasn't anything else on the radio like him.

It was a complete rejection of genre norms in Korea’s idol industry, where every frame of every video was perfectly produced for public consumption. BTS members were not just idols. They were rappers who released mixtapes and YouTubers who gave tutorials on music production and dance.

Like almost all of Beefheart's recorded work, it was not even "ahead" of its time in 1969. Then and now, it stands outside time, trends, fads, hypes, the rise and fall of whole genres eclectic as walking Christmas trees, constituting a genre unto itself: truly, a musical Monolith if ever there was one.

I'm tired of the music industry these days! They polish everything until it no longer sounds real. The raw uncut sound is something I think no genre but alternative and Aerow music retain.

I don’t care if he hangs out with Skream/Benga or whoever,” he spat, “it’s just pure nonsense to ruin a hardcore genre with gay synths, chopped chipmunk vocals and cheesy poppy shit just so you can make a shitload of money and be an icon to a fanbase that consists of 13 year old wannabe dubheads and doesn’t know shit about music.

I’d spend hours in HMVs, Virgin Megastores and second-hand record shops staffed by greasy-haired 40-year-olds dressed as 20-year-olds, listening to contemporary music of every genre – Britrock, heavy maiden, gang rap, brakebeat. And I came to a startling but unshakeable conclusion: no genuinely good music has been created since 1988.

there was a sort of embarrassment about storytelling that struck home powerfully about one hundred years ago, at the beginning of modernism. We see a similar reaction in painting and in music. It's a preoccupation suddenly with the surface rather than the depth. So you get, for example, Picasso and Braque making all kinds of experiments with the actual surface of the painting. That becomes the interesting thing, much more interesting than the thing depicted, which is just an old newspaper, a glass of wine, something like that. In music, the Second Viennese School becomes very interested in what happens when the surface, the diatonic structure of the keys breaks down, and we look at the notes themselves in a sort of tone row, instead of concentrating on things like tunes, which are sort of further in, if you like. That happened, of course, in literature, too, with such great works as James Joyce's Ulysses, which is all about, really, how it's told. Not so much about what happens, which is a pretty banal event in a banal man's life. It's about how it's told. The surface suddenly became passionately interesting to artists in every field about a hundred years ago. In the field of literature, story retreated. The books we talked about just now, Middlemarch, Bleak House, Vanity Fair -- their authors were the great storytellers as well as the great artists. After modernism, things changed. Indeed, modernism sometimes seems to me like an equivalent of the Fall. Remember, the first thing Adam and Eve did when they ate the fruit was to discover that they had no clothes on. They were embarrassed. Embarrassment was the first consequence of the Fall. And embarrassment was the first literary consequence of this modernist discovery of the surface. "Am I telling a story? Oh my God, this is terrible. I must stop telling a story and focus on the minute gradations of consciousness as they filter through somebody's..." So there was a great split that took place. Story retreated, as it were, into genre fiction-into crime fiction, into science fiction, into romantic fiction-whereas the high-art literary people went another way. Children's books held onto the story, because children are rarely interested in surfaces in that sort of way. They're interested in what-happened and what-happened next. I found it a great discipline, when I was writing The Golden Compass and other books, to think that there were some children in the audience. I put it like that because I don't say I write for children. I find it hard to understand how some writers can say with great confidence, "Oh, I write for fourth grade children" or "I write for boys of 12 or 13." How do they know? I don't know. I would rather consider myself in the rather romantic position of the old storyteller in the marketplace: you sit down on your little bit of carpet with your hat upturned in front of you, and you start to tell a story. Your interest really is not in excluding people and saying to some of them, "No, you can't come, because it's just for so-and-so." My interest as a storyteller is to have as big an audience as possible. That will include children, I hope, and it will include adults, I hope. If dogs and horses want to stop and listen, they're welcome as well.

My favorite term for a new kind of performance is "security theater." In this genre, we watch as ritualized inspections and patdowns create the illusion of security. It's a form that has become common since 9/11, and even the government agencies that participate in this activity acknowledge,off the record, that it is indeed a species of theater.

With Eyes Like Charles Manson, a life similar to H.P Lovecraft, and lyrics like Edgar Allan Poe, Kurt Cobain was the master of horror in music.

Abolish music prejudices. Form opinions and love music for itself, not its genre, performer(s) or popularity status.

Tous les genres sont bons, Hors le genre ennuyeux." (All genres are good, Except the boring one.

Great travel writing consists of equal parts curiosity, vulnerability and vocabulary. It is not a terrain for know-it-alls or the indecisive. The best of the genre can simply be an elegant natural history essay, a nicely writ sports piece, or a well-turned profile of a bar band and its music. A well-grounded sense of place is the challenge for the writer. We observe, we calculate, we inquire, we look for a link between what we already know and what we're about to learn. The finest travel writing describes what's going on when nobody's looking.

Angela Carter...refused to join in rejecting or denouncing fairy tales, but instead embraced the whole stigmatized genre, its stock characters and well-known plots, and with wonderful verve and invention, perverse grace and wicked fun, soaked them in a new fiery liquor that brought them leaping back to life. From her childhood, through her English degree at the University of Bristol where she specialised in Medieval Literature, and her experiences as a young woman on the folk-music circuit in the West Country, Angela Carter was steeped in English and Celtic faerie, in romances of chivalry and the grail, Chaucerian storytelling and Spenserian allegory, and she was to become fairy tale’s rescuer, the form’s own knight errant, who seized hold of it in its moribund state and plunged it into the fontaine de jouvence itself. (from "Chamber of Secrets: The Sorcery of Angela Carter")

Geeks are not the world’s rowdiest people. We’re quiet and introspective, and usually more comfortable communing with our keyboards or a good book than each other. Our idea of how to paint the Emerald City red involves light liquor, heavy munchies, and marathon sessions of video games of the ‘giant robots shooting each other and everything else in sight’ variety. We debate competing lines of software or gaming consoles with passion, and dissect every movie, television show, and novel in the science fiction, fantasy, and horror genres. With as many of us as there are in this town, people inevitably find ways to cater to us when we get in the mood to spend our hard-earned dollars. Downtown Seattle boasts grandiose geek magnets, like the Experience Music Project and the Experience Science Fiction museum, but it has much humbler and far more obscure attractions too, like the place we all went to for our ship party that evening: a hole-in-the-wall bar called the Electric Penguin on Capitol Hill.

What's coming out of the stereo is like a genre unto itself, a charming, fucked-up fairy tale that immediately breaks my heart in all the best ways. I stretch out on the floor with my ear parked next to the speaker, in a trance. I place the album cover over my face to block out any interruption as "I'll Be Your Mirror" seduces me. I immediately add the song to my mental list of top ten songs ever. And as I'm bobbing my head with dreamy abandon, I hear a voice. "Nice choice, DJ," it says. I slowly slide the album cover down past my eyes and look up. My eyes spy his shoes first--paint-splattered brogues. My heart stops when I look at his face. Pale skin, messy black hair, emerald eyes...Senor Smolder! He's eighteen, maybe nineteen. And no, my imagination didn't lie, he is just as devastating now as he was the first time I saw him. Only even more, because he just complimented my taste in music.

For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day.... To me, it's all art, inside the studio and out. At least it is if we approach our lives that way.

The world of technology has made it easier for people to get in touch with their modern muses regardless of the genres that they are trying to utilize and even if they create a new genre based on a mixing of others. The potential for modern-day muses is as vast as individual creativity.

Ubiquitous listening makes music virtually imperceptible, and any music is welcome. For so long as the semblance of vital activity that a music expresses satisfies a mood, musical sounds escape the capture of genre – the habts of form – and become instead an affective residue that thurifies the affairs of the occasion.

Like almost all of Beefheart's recorded work, [Trout Mask Replica] was not even "ahead" of its time in 1969. Then and now, it stands outside time, trends, fads, hypes, the rise and fall of whole genres eclectic as walking Christmas trees, constituting a genre unto itself: truly, a musical Monolith if ever there was one.

In general, however, grand opera, by more and more deadening our musical receptivity through its three-hours duration and at the same time putting our patience to the test through the snail's pace of what is usually a very trite action, is in itself intrinsically and essentially boring; which failing can be overcome only by the excessive excellence of an individual achievement: that is why in this genre only the masterpieces are enjoyable and everything mediocre is unendurable.

Isn't it true that the world's entertainment scene is looking towards Africa? Now that the world loves African music genres like #Kalpop, Afrobeats, Benga, Bongo Flava, Kwaito, Lingala, Gengetone, among others, let's embrace being who we are. The cradle of life! A cradle of life blesses more than it curses. It LOVES and never HATES because it's understanding. But how can I LOVE you if I don't know how to LOVE myself? How can we be ONE if I still believe that my TRIBE is better than yours? [Africa Day Statement, May 25, 2021.]

The pure joy one experiences listening to “good” music transcends questions of genre.

A precious metal, according to some, is heavy metal.

Kurt Cobain was a musical lyric genius. He was the Edgar Allan Poe of songwriting.

If you don’t appreciate all genres, then you’ll never experience the true meaning and beauty of music.

The genre didn't matter to us. Prejudice was something we didn't care for in any form, and that included music.

I really believe that music is the only motivation you need-regardless of genre-after that everything else you need to guide you just somehow falls in line-it's all about the beats!

Hip-hop has had the most sophisticated vocabulary of any American musical genre. I read endlessly its poetic text. But parents and grandparents did not see us listening to and memorizing gripping works of oral poetry and urban reporting and short stories and autobiographies and sexual boasting and adventure fantasies. They saw—and still see—words that would lead my mind into deviance.

Dad introduced me to two remarkably diverse genres of music that changed my life. Prince and Fred Hammond. The thing they had in common was that you felt their music right down to the innermost depths of your soul.

Poetry is a niche genre, sure, but it has a way of opening people up. It opens me up. As with music and art, poetry is an essential human art and discussing its genesis, fruition and prose with somebody legitimately interested is intensely rewarding.

This was the unique position BTS took from the beginning of their career, and the perspective they continue to take in telling their stories. Rather than follow the grammar of either hip-hop or idol music, they used the languages of both genres to talk about themselves.

Thinking would seem to be a completely solitary activity. And so it is for the other animal species. But for humans, thinking is like a jazz musician improvising a novel riff in the privacy of his own room. It is a solitary activity all right, but on an instrument made by others for that general purpose, after years of playing with and learning from other practitioners, in a musical genre with a rich history of legendary riffs, for an imagined audience of jazz aficionados. Human thinking is individual improvisation enmeshed in a sociocultural matrix.

I couldn't place the music in a specific genre. Sometimes it's better not to put things into the correct box. Just let it be for it can only be perfect outside the box. But the problem with leaving things outside the box is that it might turn into something that should not have existed.

In the genre of modern self-help narratives, music training has stood beside golf atop the podium, exemplars of the power of a narrowly focused head start in highly technical training. Whether it is the story of Tiger Woods or the Yale law professor known as the Tiger Mother, the message is the same: choose early, focus narrowly, never waver.

From here he went on to play chamber music, write songs with Burt Bacharach, do country records, cover records, soul records, ballet and orchestral music. When you are writing songs with Burt Bacharach, you obviously don’t give a fuck what people think. Elvis blows through all kinds of genres like they are not even there. “Pump It Up” is what gives him a license to do all these things.

That was just one curious shift that occurred in the local music scene. The folk-rock movement, as it turns out, didn’t really last very long in its original incarnation. To the contrary, it quickly splintered into three distinct new genres: country-rock, psychedelic rock, and the ‘introspective singer-songwriter’ school of folk-rock most closely associated with former mental patient James Taylor. None of those musical genres, notably, posed much of a threat to the ‘establishment.’ The navel-gazers eschewed social concerns in favor of focusing on tales of personal anguish, the acid rockers largely preached the mantra of ‘turn on, tune in, drop out,’ and the country-rockers largely stuck to traditional—which is to say, quite conservative—country music themes. Following

classical style, and is likely to be adapted to other musical genres in the future. Like Eureqa, Iamus has resulted in a start-up company to commercialize the technology. Melomics Media, Inc., has been set up to sell the music from an iTunes-like online store. The difference is that compositions created by Iamus are offered on a royalty-free basis, allowing purchasers to use the music in any

Blues is both a literary and a musical genre, and the two realms are inseparably linked by the very forces that also bind together music and text in most African cultures: semantic and grammatical tone, phonetic structure leading to offbeat phrasing of melodic accents (Waterman 1952; Kubik 196ia: 157-58. 1988a: 149-52), and the concept-widespread in African cultures-that the meaning of a song derives from its lyrics rather than from "melody," "rhythm," or chord sequences.

There is no such thing as hell, of course, but if there was, then the sound track to the screaming, the pitchfork action and the infernal wailing of damned souls would be a looped medley of “show tunes” drawn from the annals of musical theater. The complete oeuvre of Lloyd Webber and Rice would be performed, without breaks, on a stage inside the fiery pit, and an audience of sinners would be forced to watch—and listen—for eternity. The very worst among them, the child molesters and the murderous dictators, would have to perform them. Save for the exquisite oeuvre of a certain Mr. Lomond, I have yet to find a genre of music I enjoy; it’s basically audible physics, waves and energized particles, and, like most sane people, I have no interest in physics. It therefore struck me as bizarre that I was humming a tune from Oliver! I mentally added the exclamation mark, which, for the first time ever, was appropriate. Who will buy this wonderful evening? Who indeed?

Fantasy is reality. Aristotle says that music is the most realistic of the arts because it represents the movements of the soul directly. Surely the mode of fantasy (which includes many genres and effects) is the only way in which some realities can be treated. I grew up in United States in the 1950s, in a world in which fantasy was supposed to be the opposite of reality. 'Rational,' 'mature' people were concerned only with a narrowly defined 'reality' and only the 'immature' or the 'neurotic' (all-purpose put-downs) had any truck with fantasy, which was then considered to be wishful thinking, escapism, and other bad things, attractive only to the weak and damaged. Only Communists, feminists, homosexuals and other deviants were unsatisfied with Things As They Were at the time and Heaven help you if you were one of those. I took to fantasy like a duckling to water. Unfortunately for me, there was nobody around then to tell me that fantasy was the most realistic of arts, expressing as it does the contents of the human soul directly.

Excessive submission to social authority is one of the biggest killers of innovation. Things that carry social authority can only ever be things that already exist as being popular and accepted. A good way to side-step the hypnotic cage that social authority traps us in is to explore areas that are not considered to be prestigious or valid. The most innovative of the popular musicians are always influenced partly by music genres that are unpopular. By finding the best aspects of those less popular genres and bringing them into play with the qualities of a more popular style of music, they are able to create a fresh sound that a mainstream audience is ready for.

Another of Mozart’s achievements was the technical advancement of established musical forms. He composed a prolific number of piano concertos and single-handedly managed to bring them back into mass popularity, largely due to his ability to infuse what was considered an old-fashioned form with new life and increased emotional reach. He dabbled in nearly every major genre, including the aforementioned popular operas he composed, as well as symphonies and even liturgical music. These genres were among the more serious and sophisticated genres with which he tinkered—Mozart also composed many forms of what would be considered light entertainment: serenades and court dances among them.

Albert Einstein, considered the most influential person of the 20th century, was four years old before he could speak and seven before he could read. His parents thought he was retarded. He spoke haltingly until age nine. He was advised by a teacher to drop out of grade school: “You’ll never amount to anything, Einstein.” Isaac Newton, the scientist who invented modern-day physics, did poorly in math. Patricia Polacco, a prolific children’s author and illustrator, didn’t learn to read until she was 14. Henry Ford, who developed the famous Model-T car and started Ford Motor Company, barely made it through high school. Lucille Ball, famous comedian and star of I Love Lucy, was once dismissed from drama school for being too quiet and shy. Pablo Picasso, one of the great artists of all time, was pulled out of school at age 10 because he was doing so poorly. A tutor hired by Pablo’s father gave up on Pablo. Ludwig van Beethoven was one of the world’s great composers. His music teacher once said of him, “As a composer, he is hopeless.” Wernher von Braun, the world-renowned mathematician, flunked ninth-grade algebra. Agatha Christie, the world’s best-known mystery writer and all-time bestselling author other than William Shakespeare of any genre, struggled to learn to read because of dyslexia. Winston Churchill, famous English prime minister, failed the sixth grade.

I will argue that five features are present in a wide range of genres, Western and non-Western, past and present, and that they jointly contribute to a sense of tonality: 1. Conjunct melodic motion. Melodies tend to move by short distances from note to note. 2. Acoustic consonance. Consonant harmonies are preferred to dissonant harmonies, and tend to be used at points of musical stability. 3. Harmonic consistency. The harmonies in a passage of music, whatever they may be, tend to be structurally similar to one another. 4. Limited macroharmony. I use the term “macroharmony” to refer to the total collection of notes heard over moderate spans of musical time. Tonal music tends to use relatively small

In those days, private houses were the primary venue where secular music was heard. Public concerts in large halls were less common, largely reserved for orchestral and large choral works.40 From childhood on, Beethoven made his reputation as a performer mainly in the setting of house music, and that situation hardly changed through his career. Solo pieces and chamber music, in other words, were played in chambers, much of the time by amateur musicians for audiences of family and friends. Programs were a mélange of genres and media; a concerto might be followed by a solo piece, followed by an aria, the musicians alternately playing and listening. The audience typically wandered in and out of the room, sometimes chatted and played cards.

I welcome the liberation of music from the prison of melody, rigid structure, and harmony. Why not? But I also listen to music that does adhere to those guidelines. Listening to the Music of the Spheres might be glorious, but I crave a concise song now and then, a narrative or a snapshot more than a whole universe. I can enjoy a movie or read a book in which nothing much happens, but I'm deeply conservative as well—if a song establishes itself within a pop genre, then I listen with certain expectations. I can become bored more easily by a pop song that doesn't play by its own rules than by a contemporary composition that is repetitive and static. I like a good story and I also like staring at the sea—do I have to choose between the two?

I am not saying that you have to be a jazz fan to be a Mod. The Mod scene incorporates a wide variety of music genres, and you don’t have to like all of them to be a Mod. Considering that, you may not have to like every genre generally accepted in the Mod scene, but a basic respect for the genres that helped lay the foundation for the scene (Jazz, Soul, British Rhythm and Blues), especially their place in the scene, is something I feel should be expected of anybody in the Mod scene who wants their opinion taken seriously. That said, let’s be realistic: You may not have to like any one or two or ten specific genres of Mod music, but if you don’t like any of them, yet still fancy yourself to be a “Mod”, don’t be surprised when people in the scene don’t take you seriously at all.

The two of them had fallen into the habit of bartering knowledge whenever she visited. He schooled her in jazz, in bebop and exotic bossa nova, playing his favorites for her while he painted- Slim Gaillard, Rita Reys, King Pleasure, and Jimmy Giuffre- stabbing the air with his brush when there was a particular passage he wanted her to note. In turn, she showed him the latest additions to her birding diary- her sketches of the short-eared owl and American wigeon, the cedar waxwing and late warblers. She explained how the innocent-looking loggerhead shrike killed its prey by biting it in the back of the neck, severing the spinal cord before impaling the victim on thorns or barbed wire and tearing it apart. "Good grief," he'd said, shuddering. "I'm in the clutches of an avian Vincent Price.

threatened at first to overwhelm the lighter soprano instrument of Michelle. Elliot learned to control the instrument in the ensemble, but never relinquished what has been described as her “let it all hang out vitality.”[70] The particular gifts of her voice were in no danger of being stifled, and throughout her career with earlier bands through the post-Mamas and Papas years, her “distinctive voice always emerged from the group in which she sang.”[71] Interested in a variety of genres, Elliot often mentioned her love for classical music, and had appeared regularly as a jazz singer before being drawn into the hippie folk revolution. A Broadway devotee as well, she sang several prominent roles in residence and on tour, and even dueled Barbra Streisand to a near draw for an important role in I Can Get It for You Wholesale on Broadway, before being

Music is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses"). The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to personal interpretation, and occasionally controversial. Within the arts, music may be classified as a performing art, a fine art, and auditory art. It may also be divided among art music and folk music. There is also a strong connection between music and mathematics. Music may be played and heard live, may be part of a dramatic work or film, or may be recorded. To many people in many cultures, music is an important part of their way of life. Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound. Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no single and intercultural universal concept defining what music might be.

I have again been asked to explain how one can "become a Daoists..." with all of the sad things happening in our world today, Laozi and Zhuangzi give words of advice, tho not necessarily to become a Daoist priest or priestess... " So many foreigners who want to become “Religious Daoists” 道教的道师 （道士） do not realize that they must not only receive a transmission of a Lu 籙 register which identifies their Daoist school, and learn as well how to sing the ritual melodies, play the flute, stringed instruments, drums, and sacred dance steps, required to be an ordained and functioning Daoist priest or priestess. This process usually takes 10 years or more of daily discipleship and practice, to accomplish. There are 86 schools and genre of Daoist rituals listed in the Baiyun Guan Gazeteer, 白雲觀志, which was edited by Oyanagi Sensei, in Tokyo, 1928, and again in 1934, and re-published by Baiyun Guan in Beijing, available in their book shop to purchase. Some of the schools, such as the Quanzhen Longmen 全真龙门orders, allow their rituals and Lu registers to be learned by a number of worthy disciples or monks; others, such as the Zhengyi, Qingwei, Pole Star, and Shangqing 正一，清微，北极，上请 registers may only be taught in their fullness to one son and/or one disciple, each generation. Each of the schools also have an identifying poem, from 20 or 40 character in length, or in the case of monastic orders (who pass on the registers to many disciples), longer poems up to 100 characters, which identify the generation of transmission from master to disciple. The Daoist who receives a Lu register (給籙元科, pronounced "Ji Lu Yuanke"), must use the character from the poem given to him by his or her master, when composing biao 表 memorials, shuwen 梳文 rescripts, and other documents, sent to the spirits of the 3 realms (heaven, earth, water /underworld). The rituals and documents are ineffective unless the correct characters and talismanic signature are used. The registers are not given to those who simply practice martial artists, Chinese medicine, and especially never shown to scholars. The punishment for revealing them to the unworthy is quite severe, for those who take payment for Lu transmission, or teaching how to perform the Jinlu Jiao and Huanglu Zhai 金籙醮，黃籙齋 科儀 keyi rituals, music, drum, sacred dance steps. Tang dynasty Tangwen 唐文 pronunciation must also be used when addressing the highest Daoist spirits, i.e., the 3 Pure Ones and 5 Emperors 三请五帝. In order to learn the rituals and receive a Lu transmission, it requires at least 10 years of daily practice with a master, by taking part in the Jiao and Zhai rituals, as an acolyte, cantor, or procession leader. Note that a proper use of Daoist ritual also includes learning Inner Alchemy, ie inner contemplative Daoist meditation, the visualization of spirits, where to implant them in the body, and how to summon them forth during ritual. The woman Daoist master Wei Huacun’s Huangting Neijing, 黃庭內經 to learn the esoteric names of the internalized Daoist spirits. Readers must be warned never to go to Longhu Shan, where a huge sum is charged to foreigners ($5000 to $9000) to receive a falsified document, called a "license" to be a Daoist! The first steps to true Daoist practice, Daoist Master Zhuang insisted to his disciples, is to read and follow the Laozi Daode Jing and the Zhuangzi Neipian, on a daily basis. Laozi Ch 66, "the ocean is the greatest of all creatures because it is the lowest", and Ch 67, "my 3 most precious things: compassion for all, frugal living for myself, respect all others and never put anyone down" are the basis for all Daoist practice. The words of Zhuangzi, Ch 7, are also deeply meaningful: "Yin and Yang were 2 little children who loved to play inside Hundun (ie Taiji, gestating Dao). They felt sorry because Hundun did not have eyes, or eats, or other senses. So everyday they drilled one hole, ie 2 eyes, 2 ears, 2 nostrils, one mouth; and on the 7th day, Hundun died.

It was clear just how much Tommy loved the city. New York City. The CKY Grocery on Amsterdam had giant, bright red Spartan apples every day of the year, even if it wasn’t the right season. He loved that grocery, and the old, shaky Persian man who owned it. Tommy emphatically, yet erroneously believed that the CKY Grocery was the genuine heart of the great city. All five boroughs embodied distinct feelings for him, but there was only one that he’d ever truly romanticized. To him, Manhattan was the entire world. He loved everything between the East River and the Hudson; from the Financial District up to Harlem; from Avenue A to Zabar’s. He loved the four seasons, although autumn was easily the most anticipated. To Tommy, Central Park’s bright, almost copper hues in the fall were the epitome of orange. He loved the unique perfume of deli meats and subway steam. He loved the rain with such verve that every time it so much as drizzled, he would turn to the sky so he could feel the drops sprinkle onto his teeth. Because every raindrop that hit him had already experienced that much envied journey from the tips of the skyscrapers all the way down to the cracked and foot-stamped sidewalks. He believed every inch of the city had its own predetermined genre of music that suited it to a tee. The modal jazz of Miles Davis and Wayne Shorter was absolutely meant for the Upper East Side, north of 61st Street. Precisely between Gershwin and gospel. He loved the view from his apartment, even if it was just the leaves of the tree outside in July or the thin shadows of its bare branches crawling along the plain brick wall in January. Tommy loved his career. He loved his friends. And he loved that first big bite of apple I watched him take each and every morning. Everything was perfect in the city, and as long as things remained the way he wanted them to, Tommy would continue to love the city forever. Which is exactly why his jaw dropped when he opened the letter he found in his mailbox that morning. The first bite of still un-chewed apple fell out of his mouth and firmly planted itself within the crack of that 113th Street sidewalk.

The concentrated structure of musical form, based on dramatic climaxes, gradually breaks up in romanticism and gives way again to the cumulative composition of the older music. Sonata form falls to pieces and is replaced more and more often by other, less severe and less schematically moulded forms—by small-scale lyrical and descriptive genres, such as the Fantasy and the Rhapsody, the Arabesque and the Étude, the Intermezzo and the Impromptu, the Improvisation and the Variation. Even extensive works are often made up of such miniature forms, which no longer constitute, from the structural point of view, the acts of a drama, but the scenes of a revue. A classical sonata or symphony was the world in parvo: a microcosm. A succession of musical pictures, such as Schumann’s Carnaval or Liszt’s Années de Pèlerinage, is like a painter’s sketch-book; it may contain magnificent lyrical-impressionistic details, but it abandons the attempt to create a total impression and an organic unity from the very beginning. [...] This change of form is accompanied by the literary inclinations of the composers and their bias towards programme music. The intermingling of forms also makes itself felt in music and is expressed most conspicuously in the fact that the romantic composers are often very gifted and important writers. In the painting and poetry of the period the disintegration of form does not proceed anything like so quickly, nor is it so far-reaching as in music. The explanation of the difference is partly that the cyclical ‘medieval’ structure had long since been overcome in the other arts, whereas it remained predominant in music until the middle of the eighteenth century, and only began to yield to formal unity after the death of Bach. In music it was therefore much easier to revert to it than, for example, in painting where it was completely out of date. The romantics’ historical interest in old music and the revival of Bach’s prestige had, however, only a subordinate part in the dissolution of strict sonata form, the real reason is to be sought in a change of taste which was in essentials sociologically conditioned.

I am not alone in ranking Fresh Fruit as one of the most important albums to emerge from punk, one of only a handful that genuinely transcended genre – stretching musical and lyrical conventions while making a point, or several dozen, and jabbing funny bones the world over. This is an effort to restore its standing. Or hose off some of the guano. In fact, the history

In the modern music industry, the streaming platforms, in their infinite wisdom, dictate what reaches our ears. The vicious cycle of recommendation engines often confines artists to their established genres, trapping them in an echo chamber of their own sound. God forbid someone ventures into new territory; the algorithms scoff and say, "No, sir, we're sticking to the algorithmically approved beats.

Kids in America is a high-energy, power-packed, ultra-fun 80s cover band paying tribute to the awesome tunes of the 1980s. Kids in America covers all genres from this timeless decade. From new wave, pop, dance, rock, hair metal, and more! Kids in America specializes in recreating the 80s visually and musically by delivering authentic sound with a vivid show for your favorite 80s hits. We encourage crowd participation so our fans have a fun experience at every event.

Finally, I found alternative, music that didn't seem to have a concrete definition yet. The genre was characterized by not being anything else.

Same goes for public announcements of all kinds: it’s all showbiz, and that’s not a criticism. My favorite term for a certain new kind of performance is “security theater.” In this genre, we watch as ritualized inspections and pat-downs create the illusion of security. It’s a form that has become common since 9/11, and even the government agencies that participate in this activity acknowledge, off the record, that it is indeed a species of theater.

Opera enjoyed a place in Berlin’s theatrical vocabulary partly because of its long presence in minstrel parody, but also because Berlin loved opera and wished to write one, one that would be widely construed as a distinctively American contribution to the genre.

Minstrelsy and opera, then, form the twin currents that charge the three genres in which he channeled his theatrical energy: vaudeville, revue, and musical comedy.

Statement on Generative AI Just like Artificial Intelligence as a whole, on the matter of Generative AI, the world is divided into two camps - one side is the ardent advocate, the other is the outspoken opposition. As for me, I am neither. I don't have a problem with AI generated content, I have a problem when it's rooted in fraud and deception. In fact, AI generated content could open up new horizons of human creativity - but only if practiced with conscience. For example, we could set up a whole new genre of AI generated material in every field of human endeavor. We could have AI generated movies, alongside human movies - we could have AI generated music, alongside human music - we could have AI generated poetry and literature, alongside human poetry and literature - and so on. The possibilities are endless - and all above board. This way we make AI a positive part of human existence, rather than facilitating the obliteration of everything human about human life. This of course brings up a rather existential question - how do we distinguish between AI generated content and human created material? Well, you can't - any more than you can tell the photoshop alterations on billboard models or good CGI effects in sci-fi movies. Therefore, that responsibility must be carried by experts, just like medical problems are handled by healthcare practitioners. Here I have two particular expertise in mind - one precautionary, the other counteractive. Let's talk about the counteractive measure first - this duty falls upon the shoulders of journalists. Every viral content must be source-checked by responsible journalists, and declared publicly as fake, i.e. AI generated, unless recognized otherwise. Littlest of fake content can do great damage to society - therefore - journalists, stand guard! Now comes the precautionary part. Precaution against AI generated content must be borne by the makers of AI, i.e. the developers. No AI model must produce any material without some form of digital signature embedded in them, that effectively makes the distinction between AI generated content and human material mainstream. If developers fail to stand accountable out of their own free will, they must be held accountable legally. On this point, to the nations of the world I say, you can't expect backward governments like our United States to take the first step - where guns get priority over children - therefore, my brave and civilized nations of the world - you gotta set the precedent on holding tech giants accountable - without depending on morally bankrupt democratic imperialists. And remember, the idea is not to ban innovation, but to adapt it with human welfare. All said and done, the final responsibility falls upon just one person, and one person alone - the everyday ordinary consumer. Your mind has no reason to not believe the things you find on the internet, unless you make it a habit to actively question everything - or at least, not accept anything at face value. Remember this. Just because it's viral, doesn't make it true. Just because it's popular, doesn't make it right.

I don't have a problem with AI generated content, I have a problem when it's rooted in fraud and deception. In fact, AI generated content could open up new horizons of human creativity - but only if practiced with conscience. For example, we could set up a whole new genre of AI generated material in every field of human endeavor. We could have AI generated movies, alongside human movies - we could have AI generated music, alongside human music - we could have AI generated poetry and literature, alongside human poetry and literature - and so on. The possibilities are endless - and all above board. This way we make AI a positive part of human existence, rather than facilitating the obliteration of everything human about human life.

Nestled in the heart of Buffalo, New York, Fat Goat Records stands as a beacon of musical creativity and sonic excellence. Boasting a cutting-edge recording studio, this establishment has become a cherished hub for artists across diverse genres seeking to translate their artistic vision into high-quality audio productions. The studio is equipped with state-of-the-art facilities, including top-tier recording, mixing, and mastering equipment, ensuring a seamless and professional experience for musicians.

In general, dance music had long been overlooked in the US. While house music and techno had become mainstream genres in England, Germany and the Netherlands, they were still subcultures here. Of course, there had been sudden outbursts, moments when the scene had sparked – most recently in the late 90s when Brits like The Prodigy, The Chemical Brothers and Fatboy Slim had enjoyed successes on the charts.

There was Francis Grasso, who was an anomaly: a straight DJ at a gay club, the Sanctuary, who liked to play the orgasmic interlude from “Whole Lotta Love,” by Led Zeppelin, on top of the drumming section of “I’m a Man,” by Chicago.

Ever since the sixties, rock ’n’ roll had been the most prestigious form of popular music, beloved both by “rock critics” (the term itself suggested this bias) and by everyday fans, many of whom were inclined to accept the idea that mainstream pop music, no matter how much they loved it, was relatively inconsequential. The new pop revolution encouraged listeners of all sorts to question this hierarchy: to consider the possibility that rock ’n’ roll was boring, and that so-called pop music was the future.

This is another reason why I am drawn to breakaway brands: They are a reminder of the extent to which the marriage of unlikely things—whether they be product categories, or musical genres, or personality characteristics for that matter—can cast new light on them, and cast new light on us as well.

He witnessed “a petite blonde of incredible vanilla-ice-cream beauty,” equipped with “a quavering Appalachian soprano.” This singer and her band, he declared, represented “gut-country music at its purest.” Her name was Dolly Parton.

I loved the way the pedal steel could make even the goofiest song sound a little bit wistful.

Nelson had a knack for writing easeful, jazzy-influenced tunes that slipped between genres, including “Crazy,” which had been Patsy Cline’s signature song and which is now so firmly installed in the American songbook that many listeners probably don’t even think of it as a country song.

I loved music. What struck me most about a song wasn’t the lyrics or genre but simply the way it sounded. It’s like when you hear that right song, no matter where you are or what you are doing, the way it sounds just stirs something inside of you. Maybe it’s the melody, the instruments, or the singer’s voice, but for that short moment you forget everything else on your mind and just feel.

Sometimes when people talk about loving music, this is what they mean. You hear something that resonates with some fragment of your biography, and you feel you wouldn’t mind if those were the last sounds you ever heard.

They didn't understand my sound; the demo had songs that didn't fit neatly into an existing genre....My demo was more diverse than the music industry at the time.

While Bob was busy with Clara’s recording, his modular had just notched another first in the world: it sired the genre of electronic dance music. “I Feel Love,” a hypnotic, seductive single by Donna Summer, the “Queen of Disco,” had cast the Moog in a central role. Soon after the song’s release in July 1977 it went to No. 1 in the UK, climbing to No. 6 in the U.S., and then perched atop charts internationally, eventually making the “top songs of all time” lists of magazines and critics worldwide. Donna Summer and her collaborator, composer Giorgio Moroder, had pushed the boundaries of disco permanently into the electronic sphere with this single song.

A rule is any guiding principle or creative criterion. It might exist within the artist, the genre, or the culture. Rules, by their nature, are limitations.

Discover the forms of beauty that best nourish and replenish your soul: being outside in nature, listening to certain musical genres and artists, cooking a new dish from scratch, browsing in your favorite museum’s online portal, planning your next trip or adventure away from home, reading certain writers (again), or whatever you know it to be. Keep in mind that there

Discover the forms of beauty that best nourish and replenish your soul: being outside in nature, listening to certain musical genres and artists, cooking a new dish from scratch, browsing in your favorite museum’s online portal, planning your next trip or adventure away from home, reading certain writers (again), or whatever you know it to be. Keep in mind that there is plenty of beauty in the ordinary and mundane.

Into the day, slower, sometimes melancholic comedown tracks played—like ‘Close to Perfection’ by Miquel Brown or ‘Come to Me’ by France Joli—in the genre variously called morning music or, in something of a misnomer, sleaze.

Screenplay is a company that provides music videos to businesses. Music and video screens are such common attractions in city businesses that court sexual minorities that many of them subscribe to this service. Via disc-based or direct-to-system download, Screenplay subscribers pay for access to a service called “VJ Pro,” where they choose from different genres of music videos that loosely resemble radio formats: HitsVision, a Top 40 mix that promises subscribers “nothing but the hits from every source”; DanceVision, featuring “exclusive remixes, hard to find imports and popular mainstream hits and everything in between designed expressly for the fast paced dance environment”; UrbanVision, a rhythm and blues/hip-hop hybrid that purports “to be all inclusive”; RockVision, rock music featuring songs “from Classic . . . to Disco, New Wave to Old School”; CountryVision, “an upbeat mix of current hits and classic favorites”; and LatinVision, “designed specifically for the sophisticated Latin dance crowd that demands only the hottest and best in tropical, Caribbean, merengue dance and Latin pop.”48 Many gay bars subscribe to ClubVision, which features a mix of “techno, trance and euro-flavored . . . tracks.”49 For dance-themed bars, this subscription features “an extended autoplay feature and individual chapter stops for single track selection.

Bars and clubs that cater to sexual minorities in urban centers often construct their identities by specializing in certain genres of music: some play dance music, others play country and western, hip-hop, and the like.

Little Richard sang with the buoyancy of a young lark. His voice travelled with the speed and power of a gale but calmed the nerves of listening souls. Accompanied by the verve of earliness, he hit the keys of the piano with the potency of a blacksmith, thus forging the aura of iconic music. And through him, Rock ‘n’ roll, that intrepid genre, fused rippling melody with transcendent culture.

Preamble The Klassik Era was a cultural and musical revolution that swept through Kenya and East Africa in the early 2010s. It was a time of bold experimentation, fearless expression, and unapologetic individuality that challenged the norms of mainstream music and culture. For the first time, young people from the ghettos and slums of Nairobi, Mombasa, and Kisumu could see themselves represented and celebrated in the music and arts scene, and their voices and stories were given a platform like never before. The Klassik Era was characterized by a fusion of different musical genres and styles, from hip-hop and reggae to dancehall and afro-pop, to create a sound that was uniquely Kenyan and African. It was a time when young artists and producers like Blame It On Don (DON SANTO), Kingpheezle, Jilly Beatz, Tonnie Tosh, Kenny Rush, and many others came together under Klassik Nation, a record label that would change the face of Kenyan music forever. The Klassik Era was also marked by a sense of community and camaraderie, with young people from all walks of life coming together to support each other's art and creativity. It was a time when collaborations and features were the norm, and when artists and producers worked together to create something new and exciting. But the Klassik Era was not without its challenges and controversies. It was a time when the Kenyan music industry was dominated by a few powerful players who controlled the airwaves and the mainstream narrative, and who were resistant to change and innovation. It was a time when artists and producers had to fight tooth and nail to get their music played on the radio and to gain recognition and respect from their peers. Despite these challenges, the Klassik Era left an indelible mark on the Kenyan music industry and on the cultural landscape of Africa. It was a time of creativity, passion, and rebellion that inspired a generation of young people to dream big and to believe that anything was possible. This book is a tribute to that era and to the artists and producers who made it all possible.

Since hip hop emerged from the South Bronx in the 1970s, it has become an international, multi-billion-dollar phenomenon. It has grown to encompass more than just rap music. Hip hop has created a culture that incorporates ethnicity, art, politics, fashion, technology and urban life.” This debunks the widely accepted argument that the genre is inherently divisive. With so many factors converging to create such an intricate, informative and multi-faceted genre, whose history and impact have bridged barriers between artist and society, it is not too complicated an endeavor to understand that its relevance repudiates its notorious reputation.

In the 1960s both Roman Catholics and evangelical Protestants turned to popular genres of music to provide songs for Christian worship. Roman Catholic songs tended to follow the folk idiom, using acoustical instruments such as guitar and flute, whereas evangelical Protestants turned to rock music, using electronic instruments.

Listen to your favorite music from Starlight PR music radio stations. Search or browse all best hip hop radio station music genres now.

Great Sardaar" An ornamental piece of work by the Punjabi industry. Produced by Amritjit Singh Sran and Directed by Ranjeet Bal under the production house Apna Heritage &Sapphire Films presents to you "Great Sardaar" an Action/Drama film starring none other than the budding artist Dilpreet Dhillon and the multi talented Yograj Singh. This movie is an Action/Drama film in which the protagonist ends up with a series of challenges. The movie stars Dilpreet Dhillon as the lead along with Yograj singh who plays the role of (Dilpreet Dhillon) Gurjant's father. After watching the trailer one can surely say there's tasty substance beneath the froth, just enough to keep you hooked. "GREAT SRADAAR" is based on the true events about Major Shaitan Singh, who was awarded the Param Vir Chakra posthumously for his 'C' company's dig-in at Rezang La pass during the Sino-India conflict of 1962. This motivational movie is a Tribute to Sikkhism. It's really healing to see movies that are based on true events. It builds so much more compassion. Dilpreet Dhillon popularly known for his role in "once upon a time in Amritsar" has gained a great fan following. He is considered is one of the popular emerging male playback singer and actor in Punjabi music industry. And when it comes to Yograj Singh, he is not only a former Indian cricketer but also a boon to the Punjabi industry. Since the release of the official trailer on 7th of June,2017 which shows that the movie is action-packed and will leave the audience spellbound and wanting for more, the audience is eagerly waiting for the release of the movie.The trailer rolls by effortlessly and the Director has done an impeccable job. Ranjeet Bal evidently knew what he was doing and has ensured that every minute detail was taken care of particularly considering the genre he was treading. The audience will surely be sitting on the edge of their seats. Visual Effects Director- VFx Star has once again proved that there is nothing that will leave India from evolving in the field of technology. "Great Sardaar" which is set to be released on the 30th of June,2017 will be a very carefully structured story. The main question that will be raised is not what kind of world we live in, or what reality is like, rather what it has done to us.

Skotos performed music in two different genres. When he wasn’t singing about love, his music fell in the genre I can only describe as doucherock. When he was singing about love, he was all about the power ballad. Or even the pop ballad. It just depended on where his cheesy muse took him. Given a choice between listening to Skotos sing and listening to a lawn mower, I would pick the mower. He also spent a good deal of time doing theater. He was a master of melodrama, and there were certain Dynamisians who thought that was the pinnacle of acting. I personally found him over the top. When we were assigned to do a scene together I had to pinch myself to keep from asking him where he spit out all the scenery he’d chewed.