List of popular music genres. This is a list of the commercially relevant genres in modern popular music. Applicable styles are classified in this list using AllMusic[1] genre categorization. Popular music is defined as music with wide appeal.[2] Genres[edit] African[edit] Marabi Asian[edit] East Asian[edit] South and southeast Asian[edit] Avant-garde[edit] Blues[edit] Caribbean and Caribbean-influenced[edit] Comedy[edit] Country[edit] Easy listening[edit] Electronic[edit] Folk[edit] Hip hop[edit] Jazz[edit] Latin[edit] Pop[edit] R&B and soul[edit] Rock[edit] Exclusions[edit] Genres or styles that are not contemporary or commercially marketed in substantial numbers have been excluded, as follows: References[edit] External links[edit] Genres of popular music - Interactive relationships diagram Bibliography[edit] Borthwick, Stuart, & Moy, Ron (2004) Popular Music Genres: An Introduction.
Minimal music. Dixieland. Dixieland music or New Orleans Jazz, sometimes referred to as Hot jazz or Early Jazz, is a style of jazz music which developed in New Orleans at the start of the 20th century, and was spread to Chicago and New York City by New Orleans bands in the 1910s. Well-known jazz standard songs from the Dixieland era, such as "Basin Street Blues" and "When the Saints Go Marching In", are known even to non-jazz fans. With its beginnings in Dixieland and Riverboat jazz, and progression to Chicago-style jazz or hot jazz as developed by Louis Armstrong and others, Chicago-style jazz or hot jazz was also a transition and combination of 2-beat to 4-beat, introducing Swing in its earliest form. Hot jazz or Chicago-style jazz was also the current original music that began the Lindy Hop dance craze as it developed in Harlem.
History[edit] Dixieland is the name given to the style of jazz performed by early New Orleans jazz musicians. Etymology[edit] Modern Dixieland[edit] Chicago style[edit] Festivals[edit] Incidental music. Some early examples of what were later called incidental music are also described as semi-operas, quasi-operas, masques, vaudevilles and melodramas. Types[edit] Overture[edit] An overture is incidental music that is played usually at the beginning of a film, play, opera, etc., before the action begins. It may be a complete work of music in itself or just a simple tune. Theme song[edit] A theme song is a work that represents the performance and is often played at the beginning or end of the performance.
Theme songs are among the most works of incidental music that are most commonly released independently of the performance for which they were written, and occasionally become major successes in their own right. Underscore[edit] An underscore is soft, unobtrusive background music that accompanies the action in a performance. Stinger[edit] A stinger is a very brief instant of music that accompanies a scene transition in a performance. Loop[edit] Further reading[edit] Harris, Steve. See also[edit] Ambient music. Ambient music includes forms of music that put an emphasis on tone and atmosphere over traditional musical structure or rhythm. Ambient music is said to evoke an "atmospheric", "visual"[2] or "unobtrusive" quality.[3] To quote one pioneer, Brian Eno, "Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.
"[4] As a genre it originated in the United Kingdom at a time when new sound-making devices such as the synthesizer, were being introduced to a wider market. Ambient developed in the 1970s from the experimental and synthesizer-oriented styles of the period. Mike Oldfield, Jean Michel Jarre and Vangelis were all influences on the emergence of ambient. Robert Fripp and Brian Eno popularized ambient music in 1972 while experimenting with tape loop techniques. Ambient had a revival towards the late 1980s with the prominence of house and techno music. History[edit] 1990s developments[edit]
Glitch (music) Glitch is a style of electronic music that emerged in the late 1990s. It has been described as a genre that adheres to an "aesthetic of failure," where the deliberate use of glitch-based audio media, and other sonic artifacts, is a central concern.[1] The origins of the glitch aesthetic can be traced to the early 20th century, with Luigi Russolo's Futurist manifesto The Art of Noises, the basis of noise music. He also constructed noise generators, which he named intonarumori. Later musicians and composers made use of malfunctioning technology, such as Christian Marclay who used mutilated vinyl records to create sound collages beginning in 1979.
Oval's Wohnton, produced in 1993, helped define the genre by adding ambient aesthetics to it.[9] The mid-nineties work of Warp Records artists Aphex Twin (Richard D. Andrews, Ian, Post-digital Aesthetics and the return to Modernism, MAP-uts lecture, 2000, available at authors website.Bijsterveld, Karin and Trevor J. Microsound. These sounds include transient audio phenomena and are known in acoustics and signal processing by various names including sound particles, acoustic quantum, sonal atom, grain, glisson, grainlet, trainlet, microarc, wavelet, chirplet, FOF, time-frequency atom, pulsar, impulse, toneburst, tone pip, acoustic pixel, and others.
In the frequency domain they may be named kernel, logon, and frame, among others.[1] Physicist Dennis Gabor was an important pioneer in microsound.[1] Micromontage is musical montage with microsound. Microtime is the level of "sonic" or aural "syntax" or the "time-varying distribution of...spectral energy. ".[2] See also[edit] Source[edit] ^ Jump up to: a b c Roads, Curtis (2001).
Further reading[edit] Horacio Vaggione. Noise music. Prehistory[edit] The Art of Noises[edit] Luigi Russolo, a Futurist artist of the very early 20th century, was perhaps the first noise artist.[14][15] His 1913 manifesto, L'Arte dei Rumori, translated as The Art of Noises, stated that the industrial revolution had given modern men a greater capacity to appreciate more complex sounds. Russolo found traditional melodic music confining and envisioned noise music as its future replacement. He designed and constructed a number of noise-generating devices called intonarumori and assembled a noise orchestra to perform with them.
Works entitled Risveglio di una città (Awakening of a City) and Convegno d'aeroplani e d'automobili (The Meeting of Aeroplanes and Automobiles) were both performed for the first time in 1914.[16] A performance of his Gran Concerto Futuristico (1917) was met with strong disapproval and violence from the audience, as Russolo himself had predicted. At first the art of music sought purity, limpidity and sweetness of sound.