Relationship With Popular Music
In general, art music is separate from popular music, although there are examples of certain styles or works that cross that boundary and are included within both categories. For purposes of illustration, one example of this would be Rhapsody in Blue by George Gershwin. This piece is written in formal notation and performed as written, as with classical music, and is generally considered to be within the realm of contemporary classical music. However, its sound includes elements of jazz and blues, becoming known in the mass market as a work of popular music while clearly it remains within the purview of art music as well. Other boundary crossing examples are the symphonies of post-minimalist composers Rhys Chatham and Glenn Branca, which are written pieces as well as examples of experimental rock. With this music Chatham and Branca blend the musical aesthetics of classical music with the aesthetics of punk rock.
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Famous quotes containing the words popular music, relationship, popular and/or music:
“The new sound-sphere is global. It ripples at great speed across languages, ideologies, frontiers and races.... The economics of this musical esperanto is staggering. Rock and pop breed concentric worlds of fashion, setting and life-style. Popular music has brought with it sociologies of private and public manner, of group solidarity. The politics of Eden come loud.”
—George Steiner (b. 1929)
“The proper aim of education is to promote significant learning. Significant learning entails development. Development means successively asking broader and deeper questions of the relationship between oneself and the world. This is as true for first graders as graduate students, for fledging artists as graying accountants.”
—Laurent A. Daloz (20th century)
“If they have a popular thought they have to go into a darkened room and lie down until it passes.”
—Kelvin MacKenzie (b. 1946)
“The harp that once through Tara’s halls The soul of music shed, Now hangs as mute on Tara’s walls As if that soul were fled.”
—Thomas Moore (1779–1852)