RnB(rythm and blues) rock rap grunge metal trance techno rave Hiphop house acoustic celetic blue rock and roll classical jazz acid rock punk rock soul(lounge) reggae folk rock country music electronica melodic music
RHYTHM AND BLUES
also called rhythm & blues or R&B term used for several types of postwar African-American popular music, as well as for some white rock music derived from it. The term was coined by Jerry Wexler in 1947, when he was editing the charts at the trade journal Billboard and found that the record companies issuing black popular music considered the chart names then in use (Harlem Hit Parade, Sepia, Race) to be demeaning. The magazine changed the chart's name in its June 17, 1949, issue, having used the termrhythm and blues in news articles for theprevious two years. Although the records that appeared on Billboard's rhythm-and-blues chart thereafter were in a variety of different styles, the term was used to encompass a number of contemporary forms that emerged at that time.
Perhaps the most commonly understood meaning of the term is as a description of the sophisticated urban music that had been developing since the 1930s, when Louis Jordan's small combo started making blues-based records with humorous lyrics and upbeat rhythms that owed as much to boogie-woogie as to classic blues forms. This music, sometimes called jump blues, set a pattern that became the dominant black popular music form during and for some time after World War II. Among its leading practitioners were Jordan, Amos Milburn, Roy Milton, Jimmy Liggins, Joe Liggins, Floyd Dixon, Wynonie Harris, Big Joe Turner, and Charles Brown. While many of the numbers in these performers' repertoires were in the classic 12-bar A-A-B blues form, others were straight pop songs, instrumentals that were close to light jazz, or pseudo-Latin compositions.
Within this genre there were large-group and small-group rhythm and blues. The former was practiced by singers whose main experience was with big bands and who were usually hired employees of bandleaders such as Lucky Millinder (for whose band Harris sang) or Count Basie (whose vocalists included Turner and Jimmy Witherspoon). The small groups usually consisted of five to seven pieces and counted on individual musicians to take turns in the limelight. Thus, for instance, in Milton's group, Milton played drums and sang, Camille Howard played piano and sang, and the alto and tenor saxophonists (Milton went through several of them) each would be featured at least once. Another hallmark of small-group rhythm and blues was the relegation of the guitar, if indeed there was one, to a time-keeping status, because guitar soloing was considered �country� and unsophisticated. The most extreme example of this was Brown, both in his early work with Johnny Moore's Three Blazers and in his subsequent work as a bandleader; in both cases the band consisted of piano, bass, and guitar, but solos almost totally were handled by Brown on the piano.
Early rhythm and blues was recorded largely in Los Angeles bysmall independent record labels such as Modern, RPM, and Specialty. The founding of Atlantic Records in 1947 by Ahmet Ertegun, a jazz fan and the son of a Turkish diplomat, and Herb Abramson, a music industry professional, shifted the industry's centre to New York City. In 1953 they brought in Wexler as a partner, and he and Ertegun were instrumental in moving rhythm and blues forward. Atlantic hired jazz musicians as studio players and, owing to its engineer, Tom Dowd, paid particular attention to the sound quality of their recordings. It introduced some of the top female names in rhythm and blues�most notably Ruth Brown and LaVern Baker�and signed Ray Charles, who had been imitating Charles Brown, andhelped him find a new direction, which eventually would evolve into soul. Wexler and Ertegun worked closely with Clyde McPhatter (both in and out of his group the Drifters) and Chuck Willis, both of whom were important figures in early 1950s rhythm and blues. King Records in Cincinnati, Ohio, the Chess and Vee Jay labels in Chicago, and Duke/Peacock Records in Houston, Texas, also played pivotal roles in the spread of rhythm and blues, as did Sun Records in Memphis, Tennessee�before Sam Phillips turned his attention to Elvis Presley and rockabilly music�and J&M Studio in New Orleans, Louisiana, where a number of the most important records released on the Los Angeles-based labels were recorded.
By mid-decade rhythm and blues had come to mean black popular music that was not overtly aimed at teenagers, since the music that was becoming known as rock and roll sometimes featured lyrics that concerned first love and parent-child conflict, as well as a less subtle approach to rhythm. Many doo-wop vocal groups, therefore, were consideredrock-and-roll acts, as were performers such as Little Richard and Hank Ballard and the Midnighters. Because the distinction between rock and roll and rhythm and blues was not based on any hard-and-fast rules, most performers issued records thatfit in both categories. Moreover, some vocalists who were later considered jazz performers�in particular, Dinah Washington�also appeared on the rhythm-and-blues charts, and a steady stream of saxophone-led instrumentals firmly in the rhythm-and-blues tradition continued to be produced by performers such as Joe Houston, Chuck Higgins, and Sam (�The Man�) Taylor but were considered rock and roll and were oftenused as theme music by disc jockeys on rock-and-roll radio.
The division based on the age of the intended audience for blackpopular music also meant that, by the mid-1950s, much of the guitar-led electric blues music coming from Chicago and Memphis was now considered rhythm and blues, since it appealed to older buyers. Thus, although they had little to nothing in common with the earlier generation of band-backed blues shouters, performers such as Muddy Waters, Howlin' Wolf, and B.B. King (who, because he used a horn section when he could, was perhaps more like the older generation than the Chicago bluesmen) became regarded as rhythm-and-blues performers. One important figure in this transition was Ike Turner, a piano-player-turned-guitarist from Mississippi who worked as a talent scout for several labels and fronted a band called the Kings of Rhythm, which backed many of his discoveries on records. When Turner married the former Anna Mae Bullock and rechristened her Tina Turner, the Ike and Tina Turner Revue became a significant force in the modernization ofrhythm and blues, dispensing with the horn section but including a trio of female backing singers who were modeled on Ray Charles's Raelettes.
By 1960 rhythm and blues was, if not a spent force, at least aging with its audience. Performers such as Washington, Charles, and Ruth Brown were appearing more in nightclubs than in the multiperformer revues in which they had made their names. Although younger performers such as Jackie Wilson and Sam Cooke clearly owed a debt to the previous generation of rhythm-and-blues performers, they were more transitional figures who were, like Charles, establishing the new genre of soul. Significantly, in the August 23, 1969, issue of Billboard, theblack pop chart's name was changed again, to soul. Although soul then became the preferred term for black popular music, in some quarters rhythm and blues continued to be used to refer to nearly every genre of post-World War II black music.
The term rhythm and blues, however, attained a new meaning thanks to the British bands that followed in the wake of the Beatles. Most of these groups, notably the Rolling Stones, played a mixture of Chicago blues and black rock and roll anddescribed their music as rhythm and blues. Thus, the Who, although a quintessential mod rock band, advertised their early performances as �Maximum R&B� to attract an audience. Although bands that followed this generation�John Mayall's Bluesbreakers and Fleetwood Mac, for example�called themselves blues bands, rhythm and blues remained the rubric for the Animals, Them, the Pretty Things, and others. Today a band that advertises itself as rhythm and blues is almost certainly following in this tradition rather than that of theearly pioneers.
Not before coming to my college life i gotta know the real rock music.Rock bola to something ,very special, as understood this through a senior of mine.Being very clear to this i have never met him nor had any word with him closely but the way he plays with the guitar was really great. His name was 'GAURAV CHAUHAN' . That was really very strange to see one's eyes being goggled with his fingers when he used to play.Without going out of the point i would come to our fair encyclopedia stuff.Well what is rock? No no .. this is not a piece of a hill or mountain. Once a child asked a man the meaning of rock music. after thinking a lot he said "rock music is the one when it feels like beating oneselves with rocks".but i'ld clarify this is not the perfect meaning.The Earth's building materials are the rocks. Rocks are combinations of minerals in varying proportions...........ohhho sorry we guys were talking about rock music... and i started on the rocks.See this is what you will start feeling when you hear to rock music.
Rock and Its Roots
By far the most popular music after 1955 was rock music, which was at first called rock and (or 'n') roll. This music had its beginnings in the blues, gospel music, and jazz-influenced vocal music popular among African-American audiences after World War II. So-called �hep harmony� singing groups, such as the Mills Brothers and Ink Spots, added swinging rhythms and clever harmonies to standard popular songs and featured smooth-voiced singers over a background of rhythmically catchy singing. Small swing bands��jump bands��presented saxophone soloists who honked repeated phrases, and there were such city-styled blues singers as Joe Turner, Dinah Washington, composer-singer Percy Mayfield, and the influential guitarist-singer T-Bone Walker.
The country blues traditions of the South were further sources of rock and roll. Most blues songs are in choruses of 12 measures in AAB form. Guitar players who sang blues traveled to plantations, lumber camps, and small towns to perform for dancers. Several intense Mississippi singers�including Charley Patton, Robert Johnson, and Big Joe Williams�were among the outstanding blues performers. Such leading blues singers as Leroy Carr and Little Brother Montgomery accompanied themselves on the piano.
After many black Americans moved from the rural South to Northern cities in the 1940s, Chicago became the center of blues recording. There a new kindof blues began to appear. It featured electrically amplified guitars, and even harmonicas, and drummers who emphasized afterbeats (beats 2 and 4 of each measure; nearly all blues are in 4/4 meter). The simplest boogie-woogie rhythms were the basis of Chicago blues.
Black gospel music also grew in popularity after World War II, influenced by sophisticated singers such as the rich-voiced Mahalia Jackson and singing groups such as the Soul Stirrers. Gospel singers' techniques were used by such popular black singers as Ruth Brown and Faye Adams and the lead (melody) singers of such groups as the Dominoes and the Midnighters.
Most of these kinds of black popular music were given the label rhythm and blues (or R and B) and were played on big-city radio stations. It was the power of radio that spread this music's appeal from black communities to towns throughout all of the United States. By the mid-1950s such performers as Little Richard, Joe Turner, and Chuck Berry were also popularwith white audiences. Radio disc jockeys began calling their music rock 'n' roll.
Elvis Presley.
A record producer who had been searching for a �white man with the Negro sound and the Negro feel� began recording the Memphis-based country singer Elvis Presley. In 1956 the 21-year-old Presley created a sensation with his rock 'n' roll-styled �Heartbreak Hotel', the first of his 14 records in a row that sold more than a million copies each.
Presley's success inspired other country performers to sing rock and roll music in the late 1950s. They were called rockabilly singers, and the most prominent of them were the hiccuping vocalist Buddy Holly and the whooping singer-pianist Jerry Lee Lewis. The popularity of Presley also helped to encourage the practice of �cover� recordings. That is, when new records by black performers began to appear on the hit charts, white singerswould record simplified versions of the same songs. The recordings by the white performers received wider distribution and were played on more radio stations than the original recordings. As rock and roll rapidly became the most popular music of the late 1950s, record industry executives became aware that young listeners made up the largest portion of this music's audience. Therefore they recruited young, often adolescent, singers to record rock and roll and produced such songs as �Young Love', �16 Candles', and �Teen-Age Crush'.
now i think it's clear . rock is ROCK.
still want to know more about rock music ......!
click here to know more about Rock music ®
non stop bolo is what you 'll find in rap but let us have a look how it stated and from where did it get it's roots..!
In the early 1970s, a Jamaican deejay known as Kool Herc moved to the Bronx in New York and introduced the musical innovations that developed into the popular music style known as rap. Using two turntables, he manipulated records to create longer dance segments while shouting out comments to the dancers during the instrumental breaks. Soon urban deejays began to team with so-called rappers, and the shouts developed into rhyming, rhythmic patter that was spoken or chanted over the percussivebacking music, which came to be known as hip hop. For years a popular technique of club deejays such as Herc and Afrika Bambaataa, rap finally reached the airwaves in 1979 with the Sugar Hill Gang's �Rapper's Delight'.
Originally confined to predominantly African American neighborhoods in New York City, rap broke into the mainstream in the 1980s with the popularity of such performers as L.L. Cool J, Run-D.M.C., Hammer, and Will Smith. They kept the genre open and upbeat, moving toward the so-called �alternative� rap of De La Soul, the Fugees, TLC, and others whose work was made accessible to wide audiences through the fusion of rap, pop, andsoul. Lauryn Hill, a member of the Fugees, dominated the 1999 Grammy awards, winning five trophies for her solo album The Miseducation of LaurynHill.
Other rap acts used their music to take advantage of the political power of the spoken word. Among the earliest rap acts to make an overtly political statement was Grandmaster Flash and the Furious Five. Their groundbreaking song �The Message' (1982) opened the door for the angry, militant rap of such performers as N.W.A. and Public Enemy, who recorded the landmark albums It Takes a Nation of Millions to Hold Us Back (1988) and Fear of a Black Planet (1990). These groups blurred the line between music and politics, using rap to speak directly of the rebellious mood of the disenfranchised. Aggressive, and sometimes misogynist, militant rap in turninfluenced so-called �gangsta� rap, which graphically depicts (and some sayglorifies) the brutal arena of urban drug dealers and gang violence. Many gangsta rappers apparently adhere to the violent code of guns and death feuds that they describe in their music; two popular performers, Tupac Shakur and The Notorious B.I.G., were shot and killed within six months of each other in 1996�97.
so this is rap now a days dj Aqeel and Dj akbar saami is doing the same thing and trying to flower off in the near future.
The rock music movement known as grunge gave voice to the frustrations and disenchantment of the teenagers and young adults often referred to as Generation X. Growing out of the do-it-yourself, uncommercial legacy of punkrock, grunge favored straightforward musicianship and songwriting over superficial imagery and media hype.
Heavily influenced by punk and by 1970s hard-rock bands such as Led Zeppelin and Black Sabbath, grunge music emerged in Seattle, Wash., during the early 1990s. Among the bands associated with the movement was Pearl Jam, whose bleak songs and passionate performances made them early grunge superstars. Another prototypical band, Soundgarden, builta strong commercial following and earned two Grammy awards with their acclaimed blend of metal, rock, and punk.
The defining grunge band, however, was Nirvana, whose unexpected breakthrough brought the sound of punk to popular music audiences and changed the face of the music industry. When Nevermind, the band's abrasive yet melodic 1991 album, knocked Michael Jackson's Dangerous from the top of the Billboard chart, it signaled a victory for so-called �alternative� music over the pop mainstream. Fueled by the single �Smells Like Teen Spirit', the album went on to sell 10 million copies. As Nirvana's success grew, however, so did the fragility of its talented but tormented leader, Kurt Cobain, eventually leading to his suicide in 1994. Despite its brief history, Nirvana spawned a number of imitators who helped to make alternative music the dominant force in rock music in the 1990s. ®
Heavy metal is another very loud style of rock. It features guitars, with their sounds distorted by fuzz-tone devices and techniques that make their amplifiers screech. Among the leading heavy metal bands were Kiss, Grand Funk Railroad, Blue Oyster Cult, and Aerosmith, in the 1970s, and Guns N' Roses, Bon Jovi, Metallica, and Def Leppard, in the 1980s.
simply sayin one should never think of heavy metal to come in India other wise the future of indian music is dark. i simply think ,you have to play any thing on guitar , and it'ld be better if you do not know how to play and start playin electric guitar ,then you can be a great metal guitarist. trust me..! it's not to be insane but to make others insane.
But still i am a big fan of Rammstin. He is a german metal player. Get the casstte 'mutter' and understand the metal.
Trance is dissonant electronic music that arose in the late 1970s in response to punk rock. Coined by British postpunk experimentalists Throbbing Gristle, the term industrial simultaneously evoked the genre's bleak, dystopian worldview and its harsh, assaultive sound (�muzak for the death factories,� as Throbbing Gristle put it). Believing that punk's revolution could be realized only by severing its roots in traditional rock, industrial bands deployed noise, electronics, hypnotic machine rhythms, and tape loops. Instead of rallying youth behind political slogans, industrial artists preferred to �decondition� the individual listener by confrontingtaboos. Key literary influences were J.G. Ballard's anatomies of aberrant sexuality and the paranoid visions and �cut-up� collage techniques of William S. Burroughs.
By the early 1980s Throbbing Gristle and its allies�Nurse with Wound, Current 93, Coil, 23 Skidoo�had shifted from fetishizing horror to a neo-pagan fascination with occult magic and mystical arcana. Throbbing Gristle's leader, Genesis P-Orridge, formed the less abrasive Psychic TV and a cultlike �fan club� called Temple Ov Psychick Youth. However, many of Orridge's acolytes were alienated when their guru abandoned the �dark side� for the ecstatic trance dancing and �positivity� of the acid house scene in 1988. The industrial legacy was reaching the dance floor by another route, too�the regimented rhythms of electronic body music (Front 242, Nitzer Ebb), Canada's Front Line Assembly and Skinny Puppy, and Chicago's Wax Trax! label. In the 1990s industrial invaded the U.S. mainstream, with Ministry and Nine Inch Nails offering a kind of cyber-grunge counterpart to the raging guitars of post-Nirvana alternative rock. ®
electronic dance music that began in the United States in the 1980s and became globally popular in the 1990s. With its glacial synthesizer melodies and brisk machine rhythms, techno was a product ofthe fascination of middle-class African-American youths in Detroit, Michigan, for European electronic dance music.
Influenced by Kraftwerk's Teutonic electro-pop and Alvin Toffler's concept of �techno rebels,� a clique of deejay-producers�Derrick May, Juan Atkins, and Kevin Saunderson�began drawing attention to their innovative music in 1985. Crossing the Atlantic as an adjunct to Chicago house music, their early tracks�Rythim Is Rythim's �Strings of Life,� Model 500's �No UFOs,� and Inner City's �Good Life��incited pandemonium on Europe's dance floors. Unlike house, Detroit techno was primarily all-instrumental, and its beats were more complex than the disco-derived, four-to-the-floor kick-drum that underpinned house.
As the Detroit sound became a mainstay of the European rave scene (the neo-psychedelic subculture based around ecstasy-fueled all-night dance parties), white producers took the music in a harder-edged direction, replacing its dreamy elegance with aggressive riffs and druggy sample textures. Pioneered by Joey Beltram from New York City, Belgian artists such as 80 Aum and Human Resource, and second-wave Detroit labels Underground Resistance and +8, this new brand of technowas called hardcore, signifying both its militant attitude and ecstasy-driven hedonism. Meanwhile, British styles such as the minimalist bleep-and-bass and breakbeat hardcore were bringing hip-hop influences into the mix. By the mid-1990s, techno had fragmented into myriad subgenres, the most important being trance (characterized by metronomic beats andcosmic melodies), electronica (atmospheric experimentalism designed for album-length home listening), jungle (based around sped-up hip-hop breakbeats and floor-quaking reggae bass), and gabba (an ultrafast furor closer to heavy metal than dance music). Although purist connoisseurs pined for the lighter touch of the Detroit originators and their inheritors Carl Craig and Jeff Mills, a rowdy, rock-and-roll mutant of techno invaded the American mainstream in 1997, with the success of albums by the Prodigy and the Chemical Brothers.
Encompassing a huge range of substyles, from multimillion-selling pop to the darkest depths of the underground and even influencing mainstream rock bands like U2, techno established itself as the cutting edge of Western popular music at the end of the 20th century.
I am a great techno inclined person.Even i am having music of XXX, darude,christtropher
Kown artists
U2 ®
Rave or Electronic music began with the invention of the synthesizer. Some subcategories of electronic music include electronic dance music, space, new age, ambient, and the catch-all "electronica," which can sometimes include all of the above electronic sub-genres.
One of the first people to popularize the synthesizer was Wendy Carlos who performed classical music on the synthesizer on the recording Switched-On Bach. Space music was popularized by the group Tangerine Dream, among others, as a precursor to new age music. New age music served to support and perpetuate the values of the new age movement. Though there is some overlap between the various sub-genres of electronic music, Brian Eno, the creator of ambient music, claimed that ambient had a bit of "evil" in it, whereas new age music did not. Eno's creation was less values-driven than new age; his goal was to create music like wallpaper, insofar as the listener could listen to or easily ignore the music.
® HIPHOP
Hip hop began in inner cities in the US in the 1970s. The earliest recordings, primarily from the early 1980s, are now referred to as old school rap. In the later part of the decade, regional styles developed. East Coast rap, based out of New York City, was by far the most popular as rap began to break into the mainstream. West Coast rap, based out of Los Angeles, was by far less popular until 1992, when Dr. Dre's The Chronic revolutioned the West Coast sound, using slow, stoned, lazy beats in what came to be called G Funk. Soon after, a host of other regional styles became popular, most notably Southern rap, based out of Atlanta and New Orleans, primarily. Atlanta based performers like OutKast soon developed their own distinct sound, which came to be known as Dirty South. As hip hop became more popular in the mid-1990s, alternative rap gained in popularity among critics and long-time fans of the music.
De La Soul's 3 Feet High and Rising (1989) was perhaps the first "alternative rap" blockbuster, and helped develop a specific style called jazz rap, characterized by the use of live instrumentation and/or jazz samples. Other less popular forms of hip hop include various non-American varieties; Japan, Britain, Mexico, Sweden, Finland, France, Germany, Italy and Turkey have vibrant hip hop communities. In Puerto Rico, a style called reggaeton is popular. Electro hip hop was invented in the 1980s, but is distinctly different from most old school hip hop (as is go go, another old style). Some other genres have been created by fusing hip hop with techno (trip hop) and heavy metal (rapcore). In the late 1980s, Miami's hip hop scene was characterized by bass-heavy grooves designed for dancing -- Miami bass music. There are also rappers with Christian themes in the lyrics -- this is Christian hip hop.
style of high-tempo, electronic dance music that originated in Chicago in the early 1980s and spread internationally. Born in Chicago clubs that catered to gay, predominantly black and Latino patrons, house fused the symphonic sweep and soul diva vocals of 1970s disco with the cold futurism of synthesizer-driven Eurodisco. Invented by deejay-producers such as Frankie Knuckles and Marshall Jefferson, house reached Europe by 1986, with tracks on Chicago labels Trax and DJ International penetrating the British pop charts. In 1988 the subgenre called acid house catalyzed a British youth culture explosion, when dancers discovered that the music's psychedelic bass lines acted synergistically with the illegal drug ecstasy (MDMA, or 3,4-methylenedioxymethamphetamine,a hallucinogen and stimulant).
By 1990 the British scene had divided. Following the bacchanalian spirit of acid house, some preferred manic music designed for large one-time-only raves (all-night parties in warehouses or fields). Others favoured the more �mature,� club-oriented style of soulful house called garage (named after New York City's Paradise Garage club). Following early homegrown efforts by the likes of A Guy Called Gerald, Britain also started producing its own mutations of the Chicago sound. Pioneered by Leftfield, another subgenre called progressive house excised the style's gay-disco roots and explored production techniques that gave the music a hypnotic quality. Bombastic introductions and anthemlike choruses characterized the subgenres labeled handbag and epic house. NU-NRG (a gay, hard-core style) and tech-house (which took an abstract minimalist approach) were other significant subgenres that emerged.
Despite these European versions, house cognoscenti still looked to America's lead�the lush arrangements of auteur-producers such as Masters at Work, Armand Van Helden, and Deep Dish, the stripped-down severity and disco cut-ups of newer Chicago labels such as Relief and Cajual. On both sides ofthe Atlantic, the continuing proliferation of subgenres testified to house music's adaptability, appeal, and seemingly inexhaustible creativity.
Related artists:
Pet shop boys
The ware house ®
The growth of classical music parallels that of painting. Despitework from earlier periods by Louis Couperin, Jean-Philippe Rameau, and Jean-Baptiste Lully, for example, it was not until the 19th and early 20th centuries that French music achieved high international status. Such composers as Hector Berlioz, Camille Saint-Sa�ns, Maurice Ravel, Claude Debussy, and the Polish-born Fr�d�ric Chopin created a distinctively French style. Since the 1960s there has been much experimentation with electronic music and acoustics, and the composer-conductor Pierre Boulez directs the internationally known Institute for Experimentation and Research in Music and Acoustics (Institut de Recherche et Coordination Acoustique/Musique; IRCAM) in Paris, devoted to musical innovation. ®
With the advent of Celtic concerts (namely Lord of the Dance and Riverdance) the Celtic genre seems to have taken off. Celtic music sometimes features heavy drumming, but more often than not it features a great fiddle player, and an instrument similiar to bagpipes.
Being a big fan of enigma i have no hassles to say that Enigma is under celtic music only.
Well-Known Musicians
Anuna
Enya
Enigma
Clannad ®
I believe if you are sad then you are blue.Cause evey time you will find sad songs only ,in blues.
secular folk music of American blacks. From its origin in the South in the early 20th century, the blues' simple but expressive forms had become by the 1960s one of the most important influences on the development of popularmusic in the United States.
Although instrumental accompaniment is almost universal in the blues, the blues are essentially vocal. Blues songs are lyrical rather than narrative; blues singers are expressing feelings rather than telling stories. The emotion expressed is generally one of sadness or melancholy, often due to problems in love. To express this musically, blues performers use vocal techniques such as melisma (melodic embellishment) and syncopation and instrumental techniques such as �choking� or bending guitar strings on the neck or applying a metal slide or bottleneck to the guitar strings to create a whining, voice-like sound.
As a musical style the blues are characterized by expressive pitch inflections (blue notes), a three-line textual stanza of the form AAB, and a 12-measure form. Typically the first two and a half measures of each line are devoted to singing, the last measure and a half consisting of an instrumental �break� that repeats, answers, or complements the vocal line. In terms of functional (i.e., traditional European) harmony, the simplest blues harmonic progression is described as follows (I, IV, and V refer respectively to the first or tonic, fourth or subdominant, and fifth or dominant notes of the scale):
Phrase 1 (measures 1�4) I�I�I�I
Phrase 2 (measures 5�8) IV�IV�I�I
Phrase 3 (measures 9�12) V�V�I�I.
African influences are apparent in the blues tonality; the call and response pattern of the repeated refrain structure of the blues stanza; the falsetto break in the vocal style; and the imitation of vocal idioms by instruments, especially the guitar and harmonica.
The origins of the blues are poorly documented. Blues developed in the southern United States after the Civil War. It was influenced by work songs and field hollers, minstrel-show music, ragtime, church music, and the folk and popular music of whites. Blues derived from and was largely played by southern black men, most of whom came from the milieu of agricultural workers. The earliest references to blues date back to the 1890s and early 1900s. In 1912 black bandleader W.C. Handy 's composition �Memphis Blues� was published. It became very popular, and thereafter many other Tin Pan Alley songs entitled blues began to appear.
The rural blues developed in three principal regions, Georgia and the Carolinas, Texas, and Mississippi. The blues of Georgia and the Carolinas are noted for their clarity of enunciation and regularity of rhythm. Influenced by ragtime and white folk music, they are more melodic than the Texas and Mississippi styles. Blind Willie McTell and Blind Boy Fuller were representative of this style. The Texas blues are characterized by high, clear singing accompanied by supple guitar lines that consist typically of single-string picked arpeggios rather than strummed chords. Blind Lemon Jefferson was by far the most influential Texas bluesman. Mississippi Delta blues are the most intense of the three styles and have been the most influential. Vocally they are the most speech-like, and the guitaraccompaniment is rhythmic and percussive; a slide or bottleneck is often used. The Mississippi style is represented byCharley Patton, Willie Brown, Eddie �Son� House, Robert Johnson, and Johnny Shines.
The first blues recordings were made in the 1920s by black women such as Mamie Smith, Ma Rainey, Ida Cox, and Bessie Smith. These performers were primarily stage singers backed byjazz bands; their style is known as classic blues.
The Great Depression and the world wars caused the geographic dispersal of the blues as millions of blacks left the South for the cities of the North. The blues became adapted to the more sophisticated urban environment. Lyrics took up urbanthemes, and the blues ensemble developed as the solo bluesman was joined by a pianist or harmonica player and then by a rhythm section consisting of bass and drums. The electric guitar and the amplified harmonica created a driving sound of great rhythmic and emotional intensity.
Among the cities in which the blues initially took root were Atlanta, Memphis, and St. Louis. John Lee Hooker settled in Detroit, and on the West Coast Aaron �T-Bone� Walker developed a style later adopted by Riley �B.B.� King. It was Chicago, however, that played the greatest role in the development of urban blues. In the 1920s and 1930s Memphis Minnie, Tampa Red, Big Bill Broonzy, and John Lee �Sonny Boy� Williamson were popular Chicago performers. After World War II they were supplanted by a new generation of bluesmen that included Muddy Waters, Chester Arthur Burnett (Howlin' Wolf), Elmore James, Little Walter Jacobs, and Otis Spann.
The blues have influenced many other musical styles. Blues and jazz are closely related; such seminal jazzmen as Jelly Roll Morton and Louis Armstrong employed blues elements in their music. Soul music and rhythm and blues also show obvious blues tonalities and forms. The blues have had their greatest influence on rock music. Early rock singers such as Elvis Presley often used blues material. British rock musicians in the1960s, especially the Rolling Stones, Eric Clapton, and John Mayall, were strongly influenced by the blues, as were such American rock musicians as Mike Bloomfield, Paul Butterfield, and the Allman Brothers Band.
The blues are so named because they are supposed to have a depressed or saddened feeling. The whole idea of playing the blues is to let other people know how the musician feels (which, if you're playing the blues, usually means you're saddened).
Well-Known Musicians
B.B. King
Stevie Ray Vaughan
Junior Wells ®
Rock and roll is a confusing term with multiple definitions. It can be used strictly, referring to very little music recorded after the early 1960s, or broadly, to refer to almost all popular music recorded since the early 1950s. It arose from multiple genres in the late 1940s, most importantly the jump blues. It was first popularized by performers like Bill Haley and Elvis Presley, who fused the sound with country music, resulting in rockabilly. In addition, gospel music and a related genre, R&B (rhythm and blues), emerged later in the decade. R&B soon became on of the most popular genres, with girl groups, garage rock and surf rock most popular in the US, while harder, more blues-oriented musicians became popular in the UK, which soon developed into British blues, merseybeat, mod and skiffle. Starting the mid-1960s, a group of British bands that played variations on American R&B-influenced blues became popular on both sides of the Atlantic -- the British Invasion, a catchall term for multiple genres. These groups, including the Beatles, fused the earlier sounds with Appalachian folk music, forming folk rock, as well as a variety of less-popular genres, including the soon-to-be dominant singer-songwriter tradition. Early heavy metal and punk rock bands formed in this period, though these genres did not emerge as such for several years. The most popular genre of the British Invasion was psychedelic music, which slowly morphed into bluegrass-influenced jam bands like The Grateful Dead and ornate, classically-influenced progressive rock bands. Merseybeat and mod groups like The Yardbirds and The Who soon evolved into hard rock, which, in the early 1970s specialized into a gritty sound called glam rock, as well as a mostly underground phenomenon called power pop. In the early to mid-1970s, singer-songwriters and pop musicians dominated the charts, though punk rock and krautrock also developed, and some success was achieved by southern rock and roots rock performers, which fused modern techniques with a more traditionalist sound.
well personally i think that rock and roll is what ,introduced in india, by javed jaffery .well i am one of those who like to dance according to his steps but not the tunes.but never in my college life or far , i have seen any one dancin to rock and roll stuff.Reason being.... still searching..! ®
Classical music (or art music)
The term classical music refers to a number of different, but related, genres. Without any qualification, the usual meaning of "classical music" in the English language is European classical music (an older usage describes specifically the Western art music of the Classical Music Era). It can also refer to the classical (or art) music of non-Western cultures such as Indian classical music or Chinese classical music.
In a Western context, classical music is generally a classification covering music composed and performed by professionally-trained artists. Classical music is a written tradition. It is composed and written using music notation, and as a rule is performed faithfully to the score. Art music is a term widely used to describe classical music and other serious forms of artistic musical expression, Western or non-Western, especially referring to serious music composed after 1950.
The term classical music has several meanings. Music from the classical age�the Western historical period of Haydn, Mozart, and Beethoven�is classical music. In China classical music refers to the ancient Chinese music before the influence of Western art forms.In the West it has come to be a synonym for art music in contrast to popular and folk musics and is used here in this sense.
The Bible contains the words of many Hebrew songs and mentions such musical instruments as the harp, lyre, trumpet, and cymbal. Hebrew chants sung in the temple foreshadowed early Christian songs.
Among the Greeks the theory of music was highly developed. In the 6th century BC the mathematician Pythagoras accurately determined the numerical relationships between strings that produced tones of different pitches. The Greeks selected and arranged the tones in scales called modes. Two of these Greek modes supplied the foundation for the music of the Western world. Choruses played an integral part in the ancient Greek dramas, sometimes singing as well as speaking. Poet-musicians competed at religious festivals. The amateur players accompanied their poems on the lyre, and virtuosos used the cithara, a similar instrument with more strings.
it'ld make some sense now if we talk about indian classical stuff.well if we talk about indian then pandit Ravi shankar are the one who glorifies the field.(born 1920). Sitar player and composer Ravi Shankar introduced the music of India to Western audiences. His international fame peaked in the 1960s through performances in North America and Europe, the release of several popular recordings, and collaborations with Western classical, jazz, and rock musicians.
Well-Known Musicians
Mozart Beethoven
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Though no new trends or fads appeared and only one new star emerged, jazz and related musics at last crossed a final frontierin 2002. The jazz idiom, originally created by African Americans,had been played on six continents, but in 2001�02 guitarist Henry Kaiser spent two months in Antarctica, the last continent. Kaiser, with extensive experience playing free improvisations and jazz-rock fusion music, was a guest of the National Science Foundation's Artists and Writers Program. He recorded himself playing slide guitar at the South Pole while the temperature dipped to -40 �C (-40 �F).
The new star was singer Norah Jones, and like other recent jazz stars she was noted for her youth and beauty as well as for her talent. The daughter of sitarist Ravi Shankar, the 22-year-old Jones accompanied herself on piano and recorded Come Away with Me for a major label, Blue Note. The content of her first full album was unusual for a jazz singer; it featured mostly original songs. Four other singers also rejected the conventional repertoire in favour of music that had more personal meaning. Mississippi-born Cassandra Wilson recorded Belly of the Sun in the Clarksdale, Miss., train station, Nnenna Freelon sang Stevie Wonder songs in Tales of Wonder, and Patricia Barber composedall the songs in Verse. Susanne Abbuehl wrote lyrics for Carla Bley songs and set E.E. Cummings poems to music; she sang them all in April.
This dissatisfaction with standard songs, which were mostly composed before these singers were born, was a tendency that stood out in the present, postmodern phase of jazz, a long-standing, developmentally static period. A similar frustration led jazz artists such as pianists Jason Moran, Uri Caine, and Mal Waldron to turn to Robert Schumann, Gustav Mahler, and Johannes Brahms for material more meaningful thanthe traditional song forms and narrow range of harmonic structures. Stefon Harris (marimba and vibes), Kenny Barron (piano), Ron Carter (bass), Lewis Nash (drums), and Bob Belden (arranger) offered The Classical Jazz Quartet Plays Bach in 2002.
Robert Harth, the new executive and artistic director of Carnegie Hall, denied that the declining economy was the reason for discontinuing the Carnegie Hall Jazz Band, the 10-year-old repertory band conducted by trumpeter Jon Faddis. Verve Records cut its roster of jazz artists to 30�35, and the chief executive officer, Ron Goldstein, announced that the company would hereafter focus on crossover acts. Independent record companies remained the leading sources of jazz, and saxophonist Branford Marsalis founded Marsalis Music, which released his CD Footsteps of Our Fathers. After soprano saxophonist Steve Lacy, a major artist, had spent 32 years in Paris, the decline of jazz opportunities there led him to return to the U.S. and accept a teaching position at the New England Conservatory of Music, Boston. In 2000 jazz flutist James Newton had sued the Beastie Boys for sampling six seconds of his 1980 recording �Choir� without his permission; Newton lost his suit in a federal district court in 2002 but appealed. On the brighter side, Queen Elizabeth II made jazz guitarist Martin Taylor MBE. A hit in concerts and festivals, if less successful musically, was saxophonist Wayne Shorter's jazz quartet, which recorded Footprints Live!
The free-jazz underground remained the music's healthiest aspect in 2002. George Lewis�a trombonist, composer, and electronic music explorer who invented the improvising-keyboards computer program Voyager�became the latest jazz artist to receive a John D. and Catherine T. MacArthur Foundation �genius� grant. As the Chicago Jazz Festival's first artist in residence, Lewis conducted the NOW Orchestra in his own works; the Vancouver, B.C.-based NOW was one of the few repertory ensembles to specialize in free jazz. Bycontrast, composition was banished at Freedom of the City 2002, the second annual festival in London to celebrate the city's lively free improvisation scene. A wildly diverse lot of jazz, classical, and pop musicians found common ground in improvising together, and the London Improvisers Orchestra was again the festival's centrepiece.
It was a good year for recordings. Pianist-composer Simon Nabatov and his quintet offered remarkable jazz impressions of Mikhail Bulgakov's novel The Master and Margarita. Two of Lewis's saxophonist colleagues offered important new albums. Roscoe Mitchell led his Note Factory in Song for My Sister. Another veteran free-jazz saxophonist, Jemeel Moondoc, was joined by bassist and double-reed player William Parker and drummer Hamid Drake in New World Pygmies Volume 2. Andrew Hill led a big band at New York's Birdland and in the compact disc A Beautiful Day, while Hill's former tenor saxophonist Von Freeman offered The Improviser and, on his 80th birthday, had part of 75th Street in Chicago officially renamed Von Freeman Way. Two major British free improvisers offered retrospectives: soprano saxophonist Lol Coxhill (Spectral Soprano) and solo trombonist Paul Rutherford (Trombolenium).
A new discovery, Norman Granz' J.A.T.P. Carnegie Hall, 1949, brought Charlie Parker, Fats Navarro, and the inspired Coleman Hawkins together. Among the year's reissues, Albert Ayler's L�rrach, Paris 1966 and two volumes of Ornette Coleman Trio Live at the Golden Circle stood out, as did several boxed sets from Mosaic, especially Classic Columbia and OKeh Recordings of Joe Venuti and Eddie Lang and The Complete OKeh and Brunswick Recordings of Bix Beiderbecke, Frank Trumbauer, andJack Teagarden 1924�1936. Among the deaths during the year were those of swing giant Lionel Hampton, legendary bassist Ray Brown, singers Peggy Lee and Rosemary Clooney, pianist Michael (�Dodo�) Marmarosa, and Dixieland bandleader Ward Kimball. (See Obituaries.) Other notable deaths included those of pianist Russ Freeman, baritone saxophonist Nick Brignola, German bassist Peter Kowald, and organists Shirley Scott and John Patton.
Jazz can usually be described as one word -- "smooth". Most jazzy music has a lot of brass to create that smooth, vibrating sound. There usually is a strong bass line backed-up by a great drummer.
Well-Known Musicians
Duke Ellington
Louis Armstrong
Glenn Miller
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Another sign of the changes in society was the rise of hippie rock bands andacid rock, which featured song lyrics about psychedelic drugs. Guitarist Jimi Hendrix, the harsh-voiced singer Janis Joplin, the Jefferson Airplane, and the Grateful Dead were the most prominent of these performers. Hendrix created solos using extremely loud volumes, as he explored ways to create sound effects with his electronic guitar attachments and huge amplifiers. Heended his shows by setting fire to his guitar. Joplin and Hendrix died of drug overdoses within a month of each other in 1970: she was 27; he was 28. The Grateful Dead first appeared in San Francisco in 1965, and in the late 1980s they were the only psychedelic band still performing. (See also Joplin, Janis.) ®
The main feature of punk rock, which began in England in the 1970s, was itslyrics�despairing, violent condemnations of the dishonesty of the British ruling class. Punk also made a sleazy fashion statement�torn clothes and garishly colored hair, with razor blades and safety pins for decoration. The leading punk rock band was the Sex Pistols, featuring Sid Vicious. New wave music emerged in the 1980s as an outgrowth of punk rock that was less violent. ®
Gospel music was also the major influence on the rock singing of Ben E. King and Sam Cooke. Before turning to rock and roll Cooke had spent six years as the lead singer of the Soul Stirrers. Along with Charles, these two were the first of the 1960s soul singers�vocalists whose music was full of expressive gospellike inflections. Among them Aretha Franklin, daughter of a prominent Detroit clergyman, enjoyed the largest popular success.
Soul music brought an innovation to rock and roll. Instead of the heavy accents on afterbeats that were typical of 1950s rock music, soul music began to feature equally heavy accents on every beat. This evenly accented rhythm was heard on most of the many hit records that poured from Detroit'sMotown recording studios throughout the 1960s. Motown performers included such soul singers as Smokey Robinson and Gladys Knight and such sleek singing groups as the Temptations. The most popular of all female groups were the Supremes. Their many love songs featured simple harmonies and, instead of soul stylings, lead singer Diana Ross's small voice and smooth sound. After leaving the Supremes in 1969, Ross began an acting career in motion pictures.
But i think Soul music emerged in the late 1950s and early 1960s as an outgrowth of gospel and rock and roll. It was immediately popular, and splintered in many disparate genres, including blue eyed soul (performed by white musicians), brown eyed soul (performed by Latino musicians), Motown (Detroit-based Motown Records), southern soul and swamp pop. Boy bands and girl groups were also popular, primarily as teen idols playing an extremely watered-down version of soul called bubblegum pop. In the latter part of the decade, several regional styles emerged -- Chicago, Memphis, Philadelphia and St. Louis soul were extremely popular. Musicians like James Brown also started adding greater rock influences, forming funk, while Smokey Robinson and others helped invent Quiet Storm in the 1970s. Until the late 1990s, New Jack Swing was extremely popular among mainstream audiences. In the middle of the decade, a new breed of 70s-oriented soul singers emerged, including Lauryn Hill and D'Angelo; this is called nu soul.
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As rock music's popularity spread around the world, virtually every nation had its own rock performers. Jamaica produced reggae music, which is a much-imitated development of rock. Reggae cross-rhythms are often extremely complex, and reggae music features songs about poverty, politics,and Rastafarianism, the Jamaica-based religious cult. In the United States Bob Marley & the Wailers and Toots & the Maytals were the best known of Jamaica's reggae bands.
But if we think a lot then it seems as Reggae is one of the most unique forms out there. It uses a lot of steel drum but usually has a "happy sound".
In Jamaica during the 1950s, American R&B was most popular, though mento (a form of folk music) was more common in rural areas. A fusion of the two styles, along with soca and other genres, formed ska, an extremely popular form of music intended for dancing. In the 1960s, reggae and dub emerged from ska and American rock and roll.
Starting the late 1960s, a rock-influenced form of music began developing -- this was called rocksteady. With some folk influences (both Jamaican and American), and the growing urban popularity of Rastafarianism, rocksteady evolved into what is now known as roots reggae. In the 1970s, a style called Lovers rock became popular primarily in the United Kingdom by British performers of ballad-oriented reggae music.
emerged in Jamaica when sound system DJs began taking away the vocals from songs so that people could dance to the beat alone. Soon, pioneers like King Tubby and Lee Scratch Perry began adding new vocals over the old beats; the lyrics were rhythmic and rhyme-heavy. After the popularity of reggae died down in the early 1980s, derivatives of dub dominated the Jamaican charts. These included ragga and dancehall, both of which remained popular in Jamaica alone until the mainstream breakthrough of American gangsta rap (which evolved out of dub musicians like DJ Kool Herc moving to American cities). Ragga especially now has many devoted followers throughout the world.
Well-Known Musicians
UB40
Bob Marley
The Wailers ®
hybrid musical style that emerged in the United States and Britain in the mid-1960s.
As the American folk music revival gathered momentum in the 1950s and '60s, it was inevitable that a high-minded movement that prided itself on the purity of its acoustic instrumentation and its separation from the commercial pop mainstream would be overtaken and transformed by pop music's rapidly evolving technology. Rock music also was transformed by its intersection with folk. Although rock previously had been perceived and created almost exclusively as entertainment, it now began to take on folk music's self-conscious seriousness of intent. The catalytic figure in the fusion of folk and commercial rock was Bob Dylan, the movement's scruffy young troubadour, who in one of several audacious career moves �went electric� during a July 25, 1965, performance at the Newport (Rhode Island) Folk Festival. (See BTW: Dylan goes electric�the event, the debate.)
Dylan's dramatic gesture, one of the signal events in the history of popular music, certifieda fusion that had already taken place. The hybrid had been presaged in the late 1950s by the huge popularity of commercial folk-pop made by left-leaning performers like Harry Belafonte and the college campus favourites the Kingston Trio, whose hit albums mixed traditional and contemporary material. The traditional material came from many different sources, among them spirituals, Appalachian mountain music, early blues, and English and Celtic ballads. A major influence on Dylan that was not strictly traditional was Harry Smith's 1952 Anthology of American Folk Music, a collection of evocative 1920s and '30s hillbilly, blues, Cajun, and gospel songs, released on the Folkways label.
Two years before Dylan's notorious Newport appearance, which struck die-hard folk purists as a sellout, the folk-pop trio Peter, Paul and Mary had reached number two in the charts witha homogenized pop rendition of Dylan's protest anthem �Blowin' in the Wind.� Dylan's move, which followed the release of his partly electric album Bringing It All Back Home (1965), accelerated the already growing onslaught of socially conscious folk-flavoured music done with a rock beat and electric guitars. The genre reached a peak of formal elegance in the musicof the Byrds, a Los Angeles-based quintet (founded by former folk musician Roger McGuinn) whose sound was constructed aroundthe jangling chime of 12-string electric guitars and Beatles-influenced vocal harmonies. Early in the summer of 1965 the Byrds scored a number one hit with Dylan's song �Mr. Tambourine Man.� Their second number one hit,�Turn! Turn! Turn!,� which came at the end of that year, was based on Pete Seeger's adaptation of verses from the book of Ecclesiastes.
As folk rock became the trend of the moment, however, its socially critical stance was quickly broadened and diluted, and the relationship between the music and its traditional sources became more tenuous, a matter more of �feeling� than of strict reverence for the past. From then, the music tended to fall into two stylistic camps. In the United States folk rock acts like the Mamas and the Papas, Buffalo Springfield, the Lovin' Spoonful, Sonny and Cher, Simon and Garfunkel, and Janis Ian personified a generalized, often self-righteous youthful rebellion that in its more pointed songs was labeled �protest� music. The era's quintessential�although far from best�folk rock anthem was Barry McGuire's �Eve of Destruction,� a haranguing list of social injustices strung around a vague apocalyptic warning, which reached number one in September 1965. Simon and Garfunkel's �The Sounds of Silence� (number one in January 1966) delivered a similarly ominous blanket warning in a softer, more poetic style.
In Britain folk rock tended to be more respectful of tradition; groups like Fairport Convention and Steeleye Span made records that combined centuries-old folk material with original, tradition-flavoured songs arranged for folk rock ensembles that often used old instruments to maintain a strong Celtic flavour. In the 1970s and early 1980s the English folk duo Richard and Linda Thompson recorded bleak, strikingly compelling social-realist ballads on albums such as I Want to See the Bright Lights Tonight (1974). In a more commercial vein, Scottish troubadour Donovan was a self-conscious answer to Dylan. His first hit, �Catch the Wind� (1965), was a softened and sweetened echo of Dylan's �Blowin' in the Wind.�
Folk rock quickly blurred into psychedelic rockand other more personal styles, although certain groups (especially Crosby, Stills and Nash, Jefferson Airplane, and 10,000 Maniacs) and singer-songwriters (Don McLean, Jackson Browne, Bruce Cockburn, Bruce Springsteen, and Tracy Chapman) continued to create socially conscious, issue-oriented pop music into the 1970s, '80s, and '90s. ®
Country music is usually used to refer to honky tonk today. Emerging in the 1930s in the United States, honky tonk country was strongly influenced by the blues, as well as jug bands (which can not be properly called honky tonk). In the 1950s, country achieved great mainstream success by adding elements of rock and roll; this was called rockabilly. In addition, Western swing added influences from Swing and bluegrass emerged as a largely underground phenomenon. Later in the decade, the Nashville sound, a highly polished form of country music, became very popular. In reaction to this, harder-edged, gritty musicians sprung up in Bakersfield, California, inventing the Bakersfield sound. Merle Haggard and similar artists brought the Bakersfield sound to mainstream audiences in the 1960s, while Nashville started churning out countrypolitan. During the 1970s, the most popular genre was outlaw country, a heavily rock-influenced style. The late 1980s saw the Urban Cowboys bring about an influx of pop-oriented stars during the 1990s. Modern bluegrass music has remained mostly traditional, though progressive bluegrass and close harmony groups do exist, and the sound is the primary basis for jam bands like the Grateful Dead. ®
Electronic music that does not fall into the new age, techno or dance categories are often referred to as "left-field", or "electronica". These styles include ambient, downtempo, illbient and trip-hop (among countless others, see list of electronic music genres), which are all related in that they usually rely more on their atmospheric qualities than electronic dance music, and make use of slower, more subtle tempos, sometimes excluding rhythm completely.
IDM (an abbreviation for intelligent dance music) is an elusive and confusing genre classification that can only be truly defined by flagbearers and flagburners like Aphex Twin and Autechre.
All electronic music owes at least its historical existence to early pioneers of tape experiments known as musique concr�te, such as John Cage, Pierre Schaeffer and Karlheinz Stockhausen, as well as early synthesists like Wendy Carlos (aka Walter Carlos), Jean-Michelle Jarre, and Morton Subotnick . (See electronic art music).
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Melodic music is a term that covers various genres of non-classical music which are primarily characterised by the dominance of a single strong melody line. Rhythm, tempo and beat are subordinate to the melody line or tune, which is generally easily memorable, and followed without great difficulty. Melodic music is found in all parts of the world, overlapping many genres, and may be performed by a singer or orchestra, or a combination of the two.
In the west, melodic music has developed largely from folk song sources, and been heavily influenced by classical music in its development and orchestration. In many areas the border line between classical and melodic popular music is imprecise. Opera is generally considered to be a classical form. The lighter operetta is considered borderline, whilst stage and film musicals and musical comedy are firmly placed in the popular melodic category. The reasons for much of this are largely historical.
Other major categories of melodic music include music hall and vaudeville, which, along with the ballad, grew out of European folk music. Orchestral dance music developed from localised forms such as the jig, polka and waltz, but with the admixture of latin american, negro blues and ragtime influences, it diversified into countless sub-genres such as big band, cabaret and Swing. More specialised forms of melodic music include military music and religious music.
Traditional pop music overlaps a number of these categories: big band music and musical comedy, for example, are closely allied to traditional pop.
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