Tuesday, July 02, 2013

Crossover / D R A F T / notes and links


cites Patsy Cline, metal

"... Five Common Genres of Metal are Heavy,Thrash, Death, Black and Power and this branches off into all different fusion an crossover genres, there are now hundreds of different Metal variants, which is one of the reasons it has survived and thrived for so long." Musicallyobsessed92

Crossover Value -- When speaking about music that has been remixed from one genre to another, it refers to the amount of potential the new remix has in pulling fans from the original genre base. noahFecks

"A genre of music performed, in reality, by extremely talented artists who gave up the secular industry and making possibly millions, to praise their Father. Some however, switch over from Christian to secular, sadly, or make crossover hits, ... Kutlessfan

http://www.nytimes.com/2006/01/01/arts/music/01hunt.html?pagewanted=all&_r=0 The Classical Crossover Conundrum


Published: January 1, 2006

"... the musical domain known as classical crossover, an odd and sprawling genre that offers classically trained singers a lucrative detour from traditional concert repertory and practice. ... But the category is more complex than that. Sometimes, for better or worse, the music originates in the corporate boardroom; other times it echoes the countless permutations that arose on their own and continue to echo throughout the world."

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As a commercial tag, crossover troubles many in the classical recording business. "Firstly, I don't like the word 'crossover,' " said Robina Young, vice president of the Los Angeles-based Harmonia Mundi USA label. "It implies that there are barriers between one thing and another to be jumped over, and I don't believe those barriers exist anymore. Secondly, as a company, in 47 years of existence, I promise you that not one single time has anyone sat down and thought, 'Let's make a crossover record.' " Many who make classical crossover music resist the idea that their music stems from the cigar-chomping designs of record executives.

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For Robert Hurwitz, president of Nonesuch Records (and no fan of boardroom schemes), "There is a natural sense of what people call crossover that's a very organic thing that has been around for the last 30 years, which has to do with a generation of people who have all grown up with this incredible panorama of music around them."

The Pulitzer Prize-winning American composer John Harbison, a professor at the Massachusetts Institute of Technology, sees crossover as "very much not a recent question." What has changed in recent years, Mr. Harbison said, is the technology.

"We've always had music of various types, genres and intents," he said. "The audiences for all music had to simply just get there. Now, in the communications age, the opportunities for cross-pollination are tremendous."

The pianist Christopher O'Riley said, "I think crossover in general as a commercial term has been a bad designation of something that has an awfully long history to it." On his most recent collections, "True Love Waits" and "Hold Me to This," Mr. O'Riley plays transcriptions of Radiohead songs. He conjures the image of "Beethoven, Mozart, sitting down at a dinner party, playing the popular aria of the day."

"Beethoven was probably better known as an improviser until people started paying attention to his symphonies," Mr. O'Riley said. "Liszt, taking Hungarian folk songs and making them into these orchestral piano fantasies. Bartok used the raw building blocks of popular music as the way he set up major pieces of art. And then Stravinsky would lift them whole cloth."

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