Grammy Award For Best Pop Instrumental Performance
The Grammy Award for Best Pop Instrumental Performance was awarded between 1969 and 2011.
- In 1969 it was awarded as Best Contemporary-Pop Performance, Instrumental
- From 1970 to 1971 it was awarded as Best Contemporary Instrumental Performance
- In 1972 it was awarded as Best Pop Instrumental Performance
- In 1973 it was awarded as Best Pop Instrumental Performance by an Instrumental Performer
- From 1974 to 1975 it was again awarded as Best Pop Instrumental Performance
- From 1986 to 1989 it was awarded as Best Pop Instrumental Performance (Orchestra, Group or Soloist)
- Since 1990 it has again been awarded as Best Pop Instrumental Performance
- The award was discontinued from 2011 in a major overhaul of Grammy categories. From 2012, all instrumental performances in the pop category (solo or with a duo/group) was shifted to either the newly formed Best Pop Solo Performance or Best Pop Duo/Group Performance categories.
A similar award for Best Instrumental Performance was awarded from 1965 to 1968. This was also in the pop field, but did not specify pop music.
Read more about Grammy Award For Best Pop Instrumental Performance: Recipients
Famous quotes containing the words award, pop, instrumental and/or performance:
“The award of a pure gold medal for poetry would flatter the recipient unduly: no poem ever attains such carat purity.”
—Robert Graves (1895–1985)
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)
“All history attests that man has subjected woman to his will, used her as a means to promote his selfish gratification, to minister to his sensual pleasures, to be instrumental in promoting his comfort; but never has he desired to elevate her to that rank she was created to fill. He has done all he could to debase and enslave her mind; and now he looks triumphantly on the ruin he has wrought, and say, the being he has thus deeply injured is his inferior.”
—Sarah M. Grimke (1792–1873)
“Still be kind,
And eke out our performance with your mind.”
—William Shakespeare (1564–1616)