8/22/2023 0 Comments Crossover definition music![]() ![]() ![]() The people responsible for ensuring artists and composers are paid when their material is used commercially The person who prepares and adapts an already written composition in a different way The person who creates the music, either by notation or oral tradition Named after the barrage of different sounds that could be heard coming out of windows as songwriters worked Located in NYC- produced sheet music and popular songs People became more interested about a particular artist's version of a song and songs started to be identified by who recorded them, rather than who wrote them Used to be popularly sold so anyone could perform it any way they wished to. Term used to describe the creation of music as a product to sell Vaudeville theatre chain (keith-albee-orpheum-co) "mother of the blues" and mentor to Bessie Smithįamous blues singer sang "Backwater Blues" Sounds more professional than country blues Songs that cross over into different genresĮx: country songs become pop or top billboard songs Rhythmic complexity with accents off the down beat Provided music for social dances such as turkey trot, chicken scratch and bunny hugĪccompanied a simplified version of piano ragtime musicįascination of black people by white peopleĭeveloped ragging piano style, improvising around the themes of popular songs and marches in a syncopated style Marching band music contributed the regular "oom-pah" bass common in ragtime pieces Introduces syncopated african-american rhythm into popular musicĮnlivens music by shifting melodic accents off the beat in a bouncy beat(aka syncopation)Īdditive rhythm thattakes groups of beats and strings them together linearly (ex. ![]() Originated through the mississippi valley Groups would follow a geographical itinerary Theatrical genre of variety entertainment Imitated an African-American dance-step called the "cakewalk" and called is "Jumpin' Jim Crow"Īfrican-american parody of white americans making the grand entry to a social dance, usually accompanied by rhythms of exemplified syncopation George Washington Dixie - "city slicker," "country bumpkin" Instruments: banjo bones and tambourine, fiddle Showed disdain for the attitude of elite/genteel society The series of nots, chord pattern or musical phrase that is repeatedĪ short melody that often gets repeated appeared often in Motown melodiesīlackface performance (white people performing black arts)ĭesignated as America's first type of popular music Looking at both contemporary and historical examples of crossover, emphasis placed on how both musical and non-musical factors such as vocal technique, song arrangements, repertoire selection, performance practice, celebrity archetypes, media outlets, and technology are mixed and manipulated in order to create an operatic product that will appeal to a mass audience.Beats 2 and 4 essential component of rhythm Considering a wide variety of artists and groups from all positions on the pop-opera spectrum-including Enrico Caruso, Mario Lanza, the Three Tenors (Luciano Pavarotti, Placido Domingo, and José Carreras), Il Divo, Andrea Bocelli, Sarah Brightman, Freddy Mercury, Montserrat Caballé, John Denver, and Celiné Dion-this thesis traces the history of opera as popular entertainment from the introduction of foreign opera into the United States during the nineteenth century. While several cultural theorists have offered explanations as to how opera came to be considered "highbrow," particularly in American society, it appears that the art form has always had a foot in the pop culture realm. Critical debate over opera's proper place in the cultural hierarchy forms the basis of this discussion of crossover contentiousness over the placement of opera in the realm of "high art" both fuels popera and continues to impact its reception today. Pop-opera crossover, often dubbed "popera" in the media, is given a broad definition that encompasses both opera that exists outside the traditional confines of the opera house as well as a hybrid musical genre that blends elements of operatic and pop styles-both types of crossover strive to reach broad audiences and are usually evaluated in terms of commercial success. This thesis explores crossover between pop music and opera, considering the phenomenon from both musical and cultural perspectives. ![]()
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