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Bad Music

Why are some popular musical forms and performers universally reviled by critics and ignored by scholars-despite enjoying large-scale popularity? How has the notion of what makes ""good"" or ""bad"" music changed over the years-and what does this tell us about the writers who have assigned these tags to different musical genres? Many composers that are today part of the classical ""canon"" were greeted initially by bad reviews. Similarly, jazz, country, and pop musics were all once rejected as ""bad"" by the academy that now has courses on these and many other types of music. This book addr.

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  • "Why are some popular musical forms and performers universally reviled by critics and ignored by scholars-despite enjoying large-scale popularity? How has the notion of what makes ""good"" or ""bad"" music changed over the years-and what does this tell us about the writers who have assigned these tags to different musical genres? Many composers that are today part of the classical ""canon"" were greeted initially by bad reviews. Similarly, jazz, country, and pop musics were all once rejected as ""bad"" by the academy that now has courses on these and many other types of music. This book addr."@en
  • "What makes good or bad music? Be it classical or popular, music has the power to divide as well as unite. This book explores the roots and branches of these conflicts."@en
  • "Why are some popular musical forms and performers universally reviled by critics and ignored by scholars - despite enjoying large-scale popularity? How has the notion of what makes 'good' or 'bad' music changed over the years - and what does this tell us about the writers who have assigned these tags to different musical genres? Many composers that are today part of the classical 'canon' were greeted initially by bad reviews; similarly, jazz, country, and pop music were all once rejected as 'bad' by the academy that now has courses on them. This book addresses why this is so through a series of essays on different musical forms and performers. The authors look at different ways of judging musical performance beyond pompous academia and snobbish music criticism, and suggests new paths to follow in understanding what makes some music 'popular' even if it is judged to be 'bad'."

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  • "Electronic books"@en
  • "Electronic books"
  • "Ressources Internet"
  • "Criticism, interpretation, etc"@en
  • "Criticism, interpretation, etc"
  • "Aufsatzsammlung"

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  • "Bad Music"@en
  • "Bad Music the Music We Love to Hate"@en
  • "Bad Music The Music We Love to Hate"
  • "Bad music the music we love to hate"@en
  • "Bad music the music we love to hate"
  • "Bad music : the music we love to hate"@en
  • "Bad music : the music we love to hate"
  • "Bad music: the music we love to hate"

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