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 relationship with, relationship, popular and/or music:
“I began to expand my personal service in the church, and to search more diligently for a closer relationship with God among my different business, professional and political interests.”
—Jimmy Carter (James Earl Carter, Jr.)
“In contrast with envy, which usually occurs between two people and is focused upon another person’s qualities or possessions, jealousy occurs when a third person becomes a threat to a dyad. Jealousy involves the loss or the impending loss of a relationship that one wants to hold onto, a relationship that is vital to personal fulfillment and claimed as one’s own.”
—Carol S. Becker (b. 1942)
“Party action should follow, not precede the creation of a dominant popular sentiment.”
—J. Ellen Foster (1840–1910)
“And in the next instant, immediately behind them, Victor saw his former wife.
At once he lowered his gaze, automatically tapping his cigarette to dislodge the ash that had not yet had time to form. From somewhere low down his heart rose like a fist to deliver an uppercut, drew back, struck again, then went into a fast disorderly throb, contradicting the music and drowning it.”
—Vladimir Nabokov (1899–1977)