Genre

Samson, Jim

doi:10.1093/gmo/9781561592630.article.40599

Cited by 15 publications

(4 citation statements)

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“…Typically, studies on musical taste refer to music genres that are commonly used categories in everyday parlance and are thought to distinguish between types of music based on stylistic components, origins, aesthetics, meanings and represented social groups (Fabbri, 2012;Samson, 2001). From a musicological point of view, one would rather call such types styles, whereas genre is typically defined as a type of composition that is characterized by its form, instrumentation, and function (e.g., Opera is a genre within the style of Classical music, whereas song is a genre that exists in almost any style).…”

Section: Degree and Types Of Disliked Musicmentioning

confidence: 99%

Rationales and Functions of Disliked Music: An In-Depth Interview Study

Ackermann¹,

Merrill²

2021

Preprint

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Music serves to satisfy emotional and social needs. In its individual quality as liked or disliked music, it can also be used to create and affirm one’s own identity. While studies on musical preferences are abundant, dislikes have rarely been considered in musical taste research. The current study is centered on the rationales and functions of musical dislikes using semi-structured interviews with participants from different age groups (N = 21). The observed rationales for disliked music followed three main themes of (1) object-related reasons such as the composition, the lyrics, and aesthetic dichotomies, (2) subject-related reasons such as emotions evoked – or not evoked – in the listener, physical reactions, self-related and normative reasons such as a mismatch with the self-image, and (3) social reasons which reflect a rejection of the values presented by the music and its fans and therefore underlining the importance of social distinction as a function of musical dislikes. Other functions include identity expression, the avoidance of negative emotional and physical states, and the implicitly expressed demonstration of musical competence. The explanations for disliked music are based on both an excess or lack of certain qualities of the music or emotional reaction to the music, pointing to the idea of a missing ideal mean of music. Quantitatively, the rationales found relate to a combination of reference points which is mainly the music, but often in combination with the lyrics, the performance, the artist, and the fans. Further, the degree of dislike ranged from a slight dislike to strong hatred. To conclude, musical dislikes are a complex, multidimensional component of musical taste. Taking musical dislikes into account, the diversity and complexity of an everyday aesthetics of music can be captured, extending our understanding of attitudes toward music and the functions of music.

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Section: Degree and Types Of Disliked Musicmentioning

confidence: 99%

Rationales and Functions of Disliked Music: An In-Depth Interview Study

Ackermann¹,

Merrill²

2021

Preprint

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“…In the Western classical tradition, genres have been traditionally thought of as dividing works into categories on the basis of form or instrumentation (for example, a symphony, an art song, or a string quartet). However, since the break with tradition enacted by high modernist composers in the 1950s, composers became "less concerned to exemplify genres than to make their own statement" (Samson 2001). Works of new music are generally not thought of as belonging to a genre, but instead as autonomous works of art (Drott 2013, 2-3, drawing on Dahlhaus and Adorno) with the discourse of the "work concept" (discussed further in Chapter 4) occupying a similar place in classical musicology to that of genre scholarship in popular music.…”

Section: Genre In Popular and Art Musicmentioning

confidence: 99%

"A Lot of Different Streams": Questioning "Jazz" and Composing Beyond Genre

Lovell-Smith¹

2021

Preprint

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Many composers currently prominent in the jazz world draw upon multiple musical traditions or genres to create their work. The varied compositional activities of composers Nicole Mitchell, Tyshawn Sorey and Wayne Horvitz problematize attempts to classify their work as belonging to a single genre. Drawing on my interviews with these three composers and my analysis of selected works, I seek to understand how they conceptualize their compositional work and its relationship to the various musical traditions that have influenced them. Using Fabian Holt’s genre framework and George E. Lewis’s concept of the Afrological as critical tools, I propose that the work of these composers prioritizes spontaneity and agency, foregrounding process and transformation instead of a more fixed work concept, and claiming a mobility of practice that connects them strongly to the legacy of the AACM. I also use these concepts as ways to reflect on my own creative work developed throughout the DMA, and my relationship to the genre label of jazz. The creative portfolio developed as part of this research incorporates influences from multiple streams of music-making, particularly the traditions of jazz, creative music and Western classical music. The submitted works include Cerulean Haze, for jazz octet and 5-piece chamber ensemble (13:00); Sanctuary, a suite in three movements for 11-piece ensemble (18:49); “Noche Oscura” for 10-piece ensemble (6:48); “Moorings (Titahi Bay)” for chordless jazz quartet (6:00); “Jimmy,” “Nuevo Azul,” “Neither Here nor There” and “Metamorphosis” for improvising quartet. These works explore extended jazz and modal harmonic language; strategies for extending songform-derived compositional forms into larger, through-composed works; and varying degrees of notational specificity. The inclusion of improvisation is prioritized in each work.

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“…In order to systematically analyze and categorize the repertoire in the fmcp Database, we developed a genre categorization method that reproduces the genre indications used on the actual programs. Instead of using an existing a-priori genre taxonomy based on 'Gattungstheorie' (Samson, 2001), we recreated a taxonomy based on the local and contemporary use of genre concepts. research data journal for the humanities and social sciences 5 (2020) 62-78…”

Section: Genrementioning

confidence: 99%

The Felix Meritis Concert Programs Database, 1832–1888: From Archival Ephemera to Searchable Performance Data

Nieuwkerk

Nijboer

Kisjes

2020

Res. Data J Humanit. Soc. Sci.

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The Felix Meritis Concert Programs Database 1832–1888 (fmcp Database) provides a full digitisation of the concert programs collection of the most long-standing Dutch concert hall in the nineteenth century: Felix Meritis. Formerly hidden in boxes with archival ephemera, the content of this collection is now unlocked by manually entering the program details into a searchable dataset. The programs give an extremely rich account of a local concert practice, the performed repertoire, and the musicians involved. However, archiving concert programs at item-level presents a challenge: due to inconsistencies in and incompleteness of work descriptions it is often hard to identify and categorize the musical works performed. For the fmcp database, the authors have developed a possible solution to this problem; a strategy for structuring and categorizing concert programming data that aims to include incomplete work descriptions and reflect genre categorizations used in local concert practice. In this paper, the authors will present this categorization method and discuss the attributes and the basic structure of the fmcp database.

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Genre

Cited by 15 publications

References 0 publications

Rationales and Functions of Disliked Music: An In-Depth Interview Study

Rationales and Functions of Disliked Music: An In-Depth Interview Study

"A Lot of Different Streams": Questioning "Jazz" and Composing Beyond Genre

The Felix Meritis Concert Programs Database, 1832–1888: From Archival Ephemera to Searchable Performance Data

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