A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Robert James Sheffield is an American music journalist and author. He is a long time contributing editor at Rolling Stone, writing about music, TV, pop culture, he was a contributing editor at Blender and Details magazines. A native of Milton, Sheffield has a bachelor's degree from Yale University and master's degree from the University of Virginia, his first book, Love is a Mix Tape: Life and Loss, One Song at a Time, was released by Random House in January 2007. It was a national bestseller. An excerpt from Sheffield's most recent book, Dreaming the Beatles, was published online by Rolling Stone. USA TODAY gave Dreaming the Beatles three and one-half stars and called it a "charming new collection of essays." Spin added that "Dreaming the Beatles is equal parts history and cultural criticism, as Sheffield draws from dozens of sources to lay down the story of how the Beatles came to be, before writing about why any of it matters." MTV opined that "Dreaming the Beatles is one of the best books about the band written."
Sheffield lives in New York. Sheffield's second book, released in July 2010, is called Talking to Girls About Duran Duran: One Young Man's Quest for True Love and a Cooler Haircut. Sheffield's third book, released in August 2013, is called Turn Around Bright Eyes: The Rituals of Love and Karaoke. Sheffield's fourth book, released in June 2016, is called On Bowie. Sheffield's fifth book, released in April 2017, is called Dreaming the Beatles: The Love Story of One Band and the Whole World. Media related to Rob Sheffield at Wikimedia Commons Rob Sheffield on IMDb
Sir George Ivan Morrison OBE, better known as Van Morrison, is a Northern Irish singer-songwriter and record producer. His professional career began as a teenager in the late 1950s playing a variety of instruments including guitar, harmonica and saxophone for various Irish showbands, covering the popular hits of that time. Van Morrison rose to prominence in the mid-1960s as the lead singer of the Northern Irish R&B band Them, with whom he recorded the garage band classic "Gloria", his solo career began under the pop-hit oriented guidance of Bert Berns with the release of the hit single "Brown Eyed Girl" in 1967. After Berns's death, Warner Bros. Records bought out his contract and allowed him three sessions to record Astral Weeks. Though this album garnered high praise, it was a poor seller. Moondance established Morrison as a major artist, he built on his reputation throughout the 1970s with a series of acclaimed albums and live performances, he continues to record and tour, producing albums and live performances that sell well and are warmly received, sometimes collaborating with other artists, such as Georgie Fame and The Chieftains.
Much of Morrison's music is structured around the conventions of soul music and R&B, such as the popular singles "Brown Eyed Girl", "Jackie Wilson Said", "Domino" and "Wild Night". An equal part of his catalogue consists of lengthy, loosely connected, spiritually inspired musical journeys that show the influence of Celtic tradition and stream-of-consciousness narrative, such as the album Astral Weeks and the lesser known Veedon Fleece and Common One; the two strains together are sometimes referred to as "Celtic soul". He has received two Grammy Awards, the 1994 Brit Award for Outstanding Contribution to Music, the 2017 Americana Music Lifetime Achievement Award for Songwriting and has been inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. In 2016, he was knighted for services to tourism in Northern Ireland, he is known by the nickname Van the Man to his fans. George Ivan "Van" Morrison was born on 31 August 1945, at 125 Hyndford Street, Belfast, Northern Ireland, as the only child of George Morrison, a shipyard electrician, Violet Stitt Morrison, a singer and tap dancer in her youth.
Morrison's family were working class Protestants descended from the Ulster Scots population that settled in Belfast. From 1950 to 1956, who began to be known as "Van" during this time, attended Elmgrove Primary School, his father had what was at the time one of the largest record collections in Ulster and the young Morrison grew up listening to artists such as Jelly Roll Morton, Ray Charles, Lead Belly, Sonny Terry and Brownie McGhee and Solomon Burke. Those guys were the inspiration. If it wasn't for that kind of music, I couldn't do what I'm doing now."His father's record collection exposed him to various musical genres, such as the blues of Muddy Waters. When Lonnie Donegan had a hit with "Rock Island Line", written by Huddie Ledbetter, Morrison felt he was familiar with and able to connect with skiffle music as he had been hearing Lead Belly before that. Morrison's father bought him his first acoustic guitar when he was eleven, he learned to play rudimentary chords from the song book The Carter Family Style, edited by Alan Lomax.
In 1957, at the age of twelve, Morrison formed his first band, a skiffle group, "The Sputniks", named after the satellite, Sputnik 1, launched earlier that year by the Soviets. In 1958, the band played at some of the local cinemas, Morrison took the lead, contributing most of the singing and arranging. Other short-lived groups followed – at fourteen, he formed Midnight Special, another modified skiffle band and played at a school concert; when he heard Jimmy Giuffre playing saxophone on "The Train and The River", he talked his father into buying him a saxophone, took lessons in tenor sax and music reading. Now playing the saxophone, Morrison joined with various local bands, including one called Deanie Sands and the Javelins, with whom he played guitar and shared singing; the line-up of the band was lead vocalist Deanie Sands, guitarist George Jones, drummer and vocalist Roy Kane. The four main musicians of the Javelins, with the addition of Wesley Black as pianist, became known as the Monarchs.
Morrison attended Orangefield Boys Secondary School. As a member of a working-class community, it was expected he would get a regular full-time job, so after several short apprenticeship positions, he settled into a job as a window cleaner—later alluded to in his songs "Cleaning Windows" and "Saint Dominic's Preview". However, he had been developing his musical interests from an early age and continued playing with the Monarchs part-time. Young Morrison played with the Harry Mack Showband, the Great Eight, with his older workplace friend, Geordie Sproule, whom he named as one of his biggest influences. At age 17, Morrison toured Europe for the first time with the Monarchs, now calling themselves the International Monarchs; this Irish showband, with Morrison playing saxophone and harp, in addition to back-up duty on bass and drums, toured steamy clubs and US Army bases in Scotland and Germany, of
Rolling Stone is an American monthly magazine that focuses on popular culture. It was founded in San Francisco, California in 1967 by Jann Wenner, still the magazine's publisher, the music critic Ralph J. Gleason, it was first known for political reporting by Hunter S. Thompson. In the 1990s, the magazine shifted focus to a younger readership interested in youth-oriented television shows, film actors, popular music. In recent years, it has resumed its traditional mix of content. Rolling Stone Press is the magazine's associated book publishing imprint. Straight Arrow Press was the magazine's associated book publishing imprint, Straight Arrow Publishing Co. Inc. was the publishing company that published Rolling Stone. Rolling Stone magazine was founded in San Francisco in 1967 by Ralph Gleason. To get it off the ground, Wenner borrowed $7,500 from his own family and from the parents of his soon-to-be wife, Jane Schindelheim; the first issue carried a cover date of November 9, 1967, was in newspaper format with a lead article on the Monterey Pop Festival.
The cover price was 25¢. In the first issue, Wenner explained that the title of the magazine referred to the 1950 blues song "Rollin' Stone", recorded by Muddy Waters, Bob Dylan's hit single "Like a Rolling Stone": You're wondering what we're trying to do. It's hard to say: sort of a sort of a newspaper; the name of it is Rolling Stone which comes from an old saying, "A rolling stone gathers no moss." Muddy Waters used the name for a song. The Rolling Stones took their name from Muddy's song. "Like a Rolling Stone" was the title of Bob Dylan's first rock and roll record. We have begun a new publication reflecting what we see are the changes in rock and roll and the changes related to rock and roll."—Jann Wenner, Rolling Stone, November 9, 1967, p. 2 Some authors have attributed the name to Dylan's hit single: "At Gleason's suggestion, Wenner named his magazine after a Bob Dylan song." Rolling Stone identified with and reported the hippie counterculture of the era. However, it distanced itself from the underground newspapers of the time, such as Berkeley Barb, embracing more traditional journalistic standards and avoiding the radical politics of the underground press.
In the first edition, Wenner wrote that Rolling Stone "is not just about the music, but about the things and attitudes that music embraces". In the 1970s, Rolling Stone began to make a mark with its political coverage, with the likes of gonzo journalist Hunter S. Thompson writing for the magazine's political section. Thompson first published his most famous work Fear and Loathing in Las Vegas within the pages of Rolling Stone, where he remained a contributing editor until his death in 2005. In the 1970s, the magazine helped launch the careers of many prominent authors, including Cameron Crowe, Lester Bangs, Joe Klein, Joe Eszterhas, Ben Fong-Torres, Patti Smith and P. J. O'Rourke, it was at this point that the magazine ran some of its most famous stories, including that of the Patty Hearst abduction odyssey. One interviewer, speaking for a large number of his peers, said that he bought his first copy of the magazine upon initial arrival on his college campus, describing it as a "rite of passage".
In 1977, the magazine moved its headquarters from San Francisco to New York City. Editor Jann Wenner said San Francisco had become "a cultural backwater". During the 1980s, the magazine began to shift towards being a general "entertainment" magazine. Music was still a dominant topic, but there was increasing coverage of celebrities in television and the pop culture of the day; the magazine initiated its annual "Hot Issue" during this time. Rolling Stone was known for its musical coverage and for Thompson's political reporting. In the 1990s, the magazine changed its format to appeal to a younger readership interested in youth-oriented television shows, film actors and popular music; this led to criticism. In recent years, the magazine has resumed its traditional mix of content, including in-depth political stories, it has expanded content to include coverage of financial and banking issues. As a result, the magazine has seen its circulation increase and its reporters invited as experts to network television programs of note.
The printed format has gone through several changes. The first publications, in 1967–72, were in folded tabloid newspaper format, with no staples, black ink text, a single color highlight that changed each edition. From 1973 onwards, editions were produced on a four-color press with a different newsprint paper size. In 1979, the bar code appeared. In 1980, it became a large format magazine; as of edition of October 30, 2008, Rolling Stone has had a smaller, standard-format magazine size. After years of declining readership, the magazine experienced a major resurgence of interest and relevance with the work of two young journalists in the late 2000s, Michael Hastings and Matt Taibbi. In 2005, Dana Leslie Fields, former publisher of Rolling Stone, who had worked at the magazine for 17 years, was an inaugural inductee into the Magazine Hall of Fame. In 2009, Taibbi unleashed an acclaimed series of scathing reports on the financial meltdown of the time, he famously described Goldman Sachs as "a great vampire squid".
Bigger headlines came at the end of June 2010. Rolling Stone caused a controversy in the White House by publishing in the July issue an article by journalist Michael Hastings entitled, "The Runaway General", quoting criticism by General Stanley A. McChrystal, commander of the International Security Assistance Force and U. S. Forces-Afghanistan commander, about Vice President Joe Biden and oth
Robert Thomas Christgau is an American essayist and music journalist. One of the earliest professional rock critics, he spent 37 years as the chief music critic and senior editor for The Village Voice, during which time he created and oversaw the annual Pazz & Jop poll, he has covered popular music for Esquire, Newsday, Rolling Stone, Billboard, NPR, MSN Music, was a visiting arts teacher at New York University. Christgau is known for his terse, letter-graded capsule album reviews, first published in his "Consumer Guide" columns during his tenure at The Village Voice from 1969 to 2006, he has authored three books based on those columns, including Christgau's Record Guide: Rock Albums of the Seventies and Christgau's Record Guide: The'80s, along with two collections of essays. He continued writing reviews in this format for MSN Music and Noisey—Vice's music section—where they are published in his "Expert Witness" column. Christgau was born in Greenwich Village and grew up in Queens, the son of a fireman.
He has said he became a rock and roll fan when disc jockey Alan Freed moved to the city in 1954. After attending a public school in New York City, he left New York for four years to attend Dartmouth College, graduating in 1962 with a B. A. in English. While at college his musical interests turned to jazz, but he returned to rock after moving back to New York. Christgau has said that Miles Davis' 1960 album Sketches of Spain initiated in him "one phase of the disillusionment with jazz that resulted in my return to rock and roll", he was influenced by New Journalism writers such as Gay Talese and Tom Wolfe. "My ambitions when I went into journalism were always, to an extent, literary", Christgau said. Christgau wrote short stories, before giving up fiction in 1964 to become a sportswriter, a police reporter for the Newark Star-Ledger, he became a freelance writer after a story he wrote about the death of a woman in New Jersey was published by New York magazine. Christgau was among the first dedicated rock critics.
He was asked to take over the dormant music column at Esquire, which he began writing in June 1967. After Esquire discontinued the column, Christgau moved to The Village Voice in 1969, he worked as a college professor. From early on in his emergence as a critic, Christgau was conscious of his lack of formal knowledge of music. In a 1968 piece he commented: I don't know anything about music, which ought to be a damaging admission but isn't... The fact is that pop writers in general shy away from such arcana as key signature and beats to the measure... I used to confide my worries about this to friends in the record industry, they didn't know anything about music either. The technical stuff didn't matter, I was told. You just gotta dig it. In early 1972, he accepted a full-time job as music critic for Newsday. Christgau returned to the Village Voice in 1974 as music editor, he remained there until August 2006, when he was fired shortly after the paper's acquisition by New Times Media. Two months Christgau became a contributing editor at Rolling Stone.
Late in 2007, Christgau was fired by Rolling Stone, although he continued to work for the magazine for another three months. Starting with the March 2008 issue, he joined Blender, where he was listed as "senior critic" for three issues and "contributing editor". Christgau had been a regular contributor to Blender, he continued to write for Blender until the magazine ceased publication in March 2009. In 1987, he was awarded a Guggenheim Fellowship in the field of "Folklore and Popular Culture" to study the history of popular music. Christgau has written for Playboy and Creem, he appears about the Replacements. He taught during the formative years of the California Institute of the Arts; as of 2007, he was an adjunct professor in the Clive Davis Department of Recorded Music at New York University. In August 2013, Christgau revealed in an article written for Barnes & Noble's website that he is writing a memoir. On July 15, 2014, Christgau debuted a monthly column on Billboard's website. Christgau is best known for his "Consumer Guide" columns, which have been published more-or-less monthly since July 10, 1969, in the Village Voice, as well as a brief period in Creem.
In its original format, the "Consumer Guide" consisted of 18 to 20 single-paragraph album reviews, each of, given a letter grade ranging from A+ to E−. These reviews were collected and extensively revised in a three-volume book series, the first of, published in 1981 as Christgau's Record Guide: Rock Albums of the Seventies. In his original grading system from 1969 to 1990, albums were given a grade ranging from A+ to E-. Under this system, Christgau considered a B+ or higher to be a personal recommendation, he noted. In 1990, Christgau changed the format of the "Consumer Guide" to focus more on the albums. B+ records that Christgau deemed "unworthy of a full review" were given brief comments and star marks ranging from three down to one, denoting an honorable mention", records which Christgau believed may be of interest to their own target audience. Lesser albums were filed under categories such as "Neither" and "Duds" (which indicated bad records and were listed without fur
An epitaph is a short text honoring a deceased person. Speaking, it refers to text, inscribed on a tombstone or plaque, but it may be used in a figurative sense; some epitaphs are specified by the person themselves before their death, while others are chosen by those responsible for the burial. An epitaph may be written in poem verse. Most epitaphs are brief records of the family, the career, of the deceased with a common expression of love or respect—for example, "beloved father of..."—but others are more ambitious. From the Renaissance to the 19th century in Western culture, epitaphs for notable people became lengthy and pompous descriptions of their family origins, career and immediate family in Latin. Notably, the Laudatio Turiae, the longest known Ancient Roman epitaph, exceeds all of these at 180 lines; some aphorisms. One approach of many epitaphs is to warn them about their own mortality. A wry trick of others is to request the reader to get off their resting place, inasmuch as the reader would have to be standing on the ground above the coffin to read the inscription.
Some record achievements. Nearly all note name, year or date of birth, date of death. Many list family members and the relationship of the deceased to them. Heroes and Kings your distance keep. — Alexander PopeWe must know. We will know. — David Hilbert Looking into the portals of eternity teaches thatThe brotherhood of man is inspired by God’s word. -- George WashingtonHe never killed a man. — Clay Allison Here lies One whose Name was writ in Water — John KeatsCast a cold eyeOn life, on death. Horseman, pass by! — W. B. YeatsUndefeated — Hans-Joachim MarseilleAnd the beat goes on. — Sonny BonoSleep after toyle, port after stormie seas,Ease after warre, death after life, does please. — Joseph Conrad Oh God — Mahatma GandhiThat's all folks! — Mel BlancI've stopped getting dumber. — Paul ErdősHomo sum! the adventurer — D. H. LawrenceGo tell the Spartans, stranger passing by that here, obedient to their law, we lie. -- Simonides's epigram at ThermopylaeI told you. — Spike MilliganHere sleeps at peace a Hampshire GrenadierWho caught his early death by drinking cold small beer.
Soldiers, be wise at his untimely fall, And when you're hot, drink none at all. — Thomas Thetcher tombstone epitaph in Winchester CathedralTo save your world you asked this man to die:Would this man, could he see you now, ask why? — Epitaph for the Unknown Soldier, written by W. H. AudenThere is borne an empty hearsecovered over for such as appear not. Heroes have the whole earth for their tomb. — Unknown Soldier's epitaph, Athens. -- Virginia WoolfGood frend for Iesvs sake forebeare. Bleste be man spares thes stones,And cvrst be he moves my bones.: Good friend for Jesus' sake forbear, To dig the dust enclosed here. Blessed be the man that spares these stones. — William Shakespeare In a more figurative sense, the term may be used for music composed in memory of the deceased. Igor Stravinsky composed in 1958 Epitaphium for flute and harp. In 1967 Krzysztof Meyer called his Symphony No. 2 for choir and orchestra Epitaphium Stanisław Wiechowicz in memoriam. Jeffrey Lewis composed Epitaphium – Children of the Sun for narrator, chamber choir, flute and percussion.
Bronius Kutavičius composed in 1998 Epitaphium temporum pereunti. Valentin Silvestrov composed in 1999 Epitaph L. B. for viola and piano. In 2007 Graham Waterhouse composed Epitaphium for string trio as a tribute to the memory of his father William Waterhouse; the South African poet Gert Vlok Nel wrote an untitled song, which appeared on his first music album'Beaufort-Wes se Beautiful Woorde' as'Epitaph', because his producer Eckard Potgieter told him that the song sounded like an epitaph. David Bowie's final album, released in 2016, is seen as his musical epitaph, with singles "Blackstar" and "Lazarus" singled out. In the late 1990s, a unique epitaph was flown to the moon along with the ashes of geologist and planetary scientist Eugene Shoemaker. At the suggestion of colleague Carolyn Porco, Shoemaker's ashes were launched aboard the Lunar Prospector spacecraft on January 6, 1998; the ashes were accompanied by a laser-engraved epitaph on a small piece of foil. The spacecraft, along with the ashes and epitaph, crashed on command into the south polar region of the moon on July 31, 1999.
Chronogram Death poem Epigraph Epitaph Epitaphios logos Hero stone Seikilos epitaph Epitaph Records Vidor, Gian Marco. Satisfying the mind and inflaming the heart: emotions and funerary epigraphy in nineteenth-centu