Genre muzik: Perbezaan antara semakan

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'''Genre muzik''' ialah [[Binaan (falsafah sains)|binaan]] [[kategori]] dan [[tipologi]] yang mengenal pasti bunyi muzik sebagai tergolong dalam sesuatu kategori dan jenis muzik yang dapat dibezakan daripada jenis muzik yang lain.
'''Genre muzik''' ialah [[Binaan (falsafah sains)|binaan]] [[kategori]] dan [[tipologi]] yang mengenal pasti bunyi muzik sebagai:
* tergolong dalam sesuatu kategori serta jenis muzik; dan
* dapat dibezakan daripada jenis muzik yang lain.
Terdapat sebilangan pendekatan terhadap [[genre]]. Dalam bukunya, ''Form in Tonal Music'' (Bentuk dalam Muzik Tonal", Douglass M. Green menyenaraikan:
* [[madrigal (muzik)|madrigal]];
* [[motet]];
* [[kanzona]];
* [[ricercar]]; dan
* [[tarian]];
sebagai contoh genre daripada [[Zaman Pembaharuan Eropah]]. Menurutnya, "''Op. 61'' [[Beethoven]] dan ''Op. 64'' Mendelssohn tergolong dalam genre yang sama &mdash; kedua-duanya merupakan konserto &mdash; tetapi memiliki [[Bentuk muzik|bentuk]] yang berbeza. ''Rondo for Piano, K. 511'' Mozart, dan ''Agnus Dei'' daripada ''Mass, K. 317'' agak berbeza genrenya tetapi mempunyai bentuk yang serupa."<ref>{{cite book |title=Form in Tonal Music |last=Green |first=Douglass M. |authorlink= |coauthors= |year= 1965 |publisher= Holt, Rinehart, and Winston, Inc|location= |isbn= 0030202868 |pages=1 }}</ref>

Sesetengah orang menganggap istilah "genre" dan "gaya" sebagai sama sahaja dan menyatakan bahawa genre harus ditakrifkan sebagai buah [[muzik]] yang berkongsi sesuatu [[gaya" atau "bahasa muzik asas".<ref name="Pete">{{cite book |title=Origins of the Popular Style: The Antanddececedents of Twentieth-Century Popular Music |last=van der Merwe |first= Peter |authorlink=Peter van der Merwe |coauthors= |year= 1989 |publisher=Clarendon Press |location= Oxford |isbn=0-19-316121-4 |pages=3 }}</ref> Sebaliknya, ada yang menyatakan bahawa "genre" dan "gaya" adalah dua istilah yang berasingan, dan ciri sekunder seperti perkara juga boleh membezakan genre.<ref name="Moore">Moore, Allan F. [http://links.jstor.org/sici?sici=0027-4224(200108)82%3A3%3C432%3ACCIMDS%3E2.0.CO%3B2-D "Categorical Conventions in Music Discourse: Style and Genre" Music & Letters], Vol. 82, No. 3 (Aug., 2001), pp. 432-442</ref> Sesuatu genre (atau subgenre) muzik dapat ditakrifkan oleh [[Teknik muzik|teknik]], gaya, kontek, dan tema (kandungan, semangat). Asal geografi kekadang juga boleh digunakan untuk menentukan genre muzik, walaupun satu kategori geografi tunggal biasanya merangkumi berbagai-bagai subgenre.


There are several approaches to [[genre]]. In his book ''Form in Tonal Music,'' Douglass M. Green lists the [[madrigal (music)|madrigal]], the [[motet]], the [[canzona]], the [[ricercar]], and the dance as examples of genres (from the Renaissance period). According to Green, "Beethoven's ''Op. 61'' and Mendelssohn's ''Op. 64'' are identical in genre - both are violin concertos - but different in [[Musical form|form]]. Mozart's ''Rondo for Piano, K. 511'', and the ''Agnus Dei'' from his ''Mass, K. 317'' are quite different in genre but happen to be similar in form."<ref>{{cite book |title=Form in Tonal Music |last=Green |first=Douglass M. |authorlink= |coauthors= |year= 1965 |publisher= Holt, Rinehart, and Winston, Inc|location= |isbn= 0030202868 |pages=1 }}</ref> Some treat the terms genre and style as the same, and state that genre should be defined as pieces of [[music]] that share a certain [[style]] or "basic musical language".<ref name="Pete">{{cite book |title=Origins of the Popular Style: The Antanddececedents of Twentieth-Century Popular Music |last=van der Merwe |first= Peter |authorlink=Peter van der Merwe |coauthors= |year= 1989 |publisher=Clarendon Press |location= Oxford |isbn=0-19-316121-4 |pages=3 }}</ref> Others state that genre and style are two separate terms, and that secondary characteristics such as subject matter can also differentiate between genres.<ref name="Moore">Moore, Allan F. [http://links.jstor.org/sici?sici=0027-4224(200108)82%3A3%3C432%3ACCIMDS%3E2.0.CO%3B2-D "Categorical Conventions in Music Discourse: Style and Genre" Music & Letters], Vol. 82, No. 3 (Aug., 2001), pp. 432-442</ref> A music genre (or sub-genre) could be defined by the [[Musical technique|techniques]], the styles, the context and the themes (content, spirit). Also, [[geographical]] [[origin]] sometimes is used to define the music genre, though a single geographical category will normally include a wide variety of sub-genres.


Kembrew McLeod, in an essay entitled "Genres, Subgenres, Sub-Subgenres and More",<ref>{{cite journal |last=McLeod |first=Kembrew |year=2001 |title=Genres, Sub-Genres, Sub-Sub-Genres, etc.: Sub-Genre Naming In Electronic/Dance Music|journal=JOURNAL OF POPULAR MUSIC STUDIES |issue=13 |pages=59–75 |accessdate=2008-08-08 }}</ref> suggested that in electronic music, "the naming of new subgenres can be linked to a variety of influences, such as the rapidly evolving nature of the music, accelerated consumer culture, and the synergy created by record company marketing strategies and music magazine hype. The appropriation of the musics of minorities by straight, middle and upper-middle-class Whites in the United States and Great Britain plays a part, and the rapid and ongoing naming process within electronic/dance music subcultures acts as a gate-keeping mechanism, as well."
Kembrew McLeod, in an essay entitled "Genres, Subgenres, Sub-Subgenres and More",<ref>{{cite journal |last=McLeod |first=Kembrew |year=2001 |title=Genres, Sub-Genres, Sub-Sub-Genres, etc.: Sub-Genre Naming In Electronic/Dance Music|journal=JOURNAL OF POPULAR MUSIC STUDIES |issue=13 |pages=59–75 |accessdate=2008-08-08 }}</ref> suggested that in electronic music, "the naming of new subgenres can be linked to a variety of influences, such as the rapidly evolving nature of the music, accelerated consumer culture, and the synergy created by record company marketing strategies and music magazine hype. The appropriation of the musics of minorities by straight, middle and upper-middle-class Whites in the United States and Great Britain plays a part, and the rapid and ongoing naming process within electronic/dance music subcultures acts as a gate-keeping mechanism, as well."

Semakan pada 12:57, 5 Oktober 2009

Genre muzik ialah binaan kategori dan tipologi yang mengenal pasti bunyi muzik sebagai:

  • tergolong dalam sesuatu kategori serta jenis muzik; dan
  • dapat dibezakan daripada jenis muzik yang lain.

Terdapat sebilangan pendekatan terhadap genre. Dalam bukunya, Form in Tonal Music (Bentuk dalam Muzik Tonal", Douglass M. Green menyenaraikan:

sebagai contoh genre daripada Zaman Pembaharuan Eropah. Menurutnya, "Op. 61 Beethoven dan Op. 64 Mendelssohn tergolong dalam genre yang sama — kedua-duanya merupakan konserto — tetapi memiliki bentuk yang berbeza. Rondo for Piano, K. 511 Mozart, dan Agnus Dei daripada Mass, K. 317 agak berbeza genrenya tetapi mempunyai bentuk yang serupa."[1]

Sesetengah orang menganggap istilah "genre" dan "gaya" sebagai sama sahaja dan menyatakan bahawa genre harus ditakrifkan sebagai buah muzik yang berkongsi sesuatu [[gaya" atau "bahasa muzik asas".[2] Sebaliknya, ada yang menyatakan bahawa "genre" dan "gaya" adalah dua istilah yang berasingan, dan ciri sekunder seperti perkara juga boleh membezakan genre.[3] Sesuatu genre (atau subgenre) muzik dapat ditakrifkan oleh teknik, gaya, kontek, dan tema (kandungan, semangat). Asal geografi kekadang juga boleh digunakan untuk menentukan genre muzik, walaupun satu kategori geografi tunggal biasanya merangkumi berbagai-bagai subgenre.


Kembrew McLeod, in an essay entitled "Genres, Subgenres, Sub-Subgenres and More",[4] suggested that in electronic music, "the naming of new subgenres can be linked to a variety of influences, such as the rapidly evolving nature of the music, accelerated consumer culture, and the synergy created by record company marketing strategies and music magazine hype. The appropriation of the musics of minorities by straight, middle and upper-middle-class Whites in the United States and Great Britain plays a part, and the rapid and ongoing naming process within electronic/dance music subcultures acts as a gate-keeping mechanism, as well."

Kategorian

A list of genres of music (including sub genres) can be found at List of music genres. However, there are a number of criteria with which one may classify musical genres, including:

  • The Art/Popular/Traditional distinction
  • Regional and national distinctions
  • Fusional origins

Muzik seni

Art music is the musical expression of high culture.

Art music primarily refers to classical music, including European classical music, or others listed at List of classical music styles (including non-European classical music), contemporary classical music (including Electronic art music, Experimental music and Minimalist music). Art music may also include certain forms of Jazz (even though jazz is primarily a form of popular music).

Muzik pop

Popular music is the musical expression of popular culture

The usual stereotype of "popular music" is music belonging to any of a number of musical styles that are accessible to the general public and are disseminated by one or more of the mass media. For a critical introduction, see the work of Richard Middleton (e.g. Studying Popular Music 1998) and Starr/Waterman American Popular Music (2004)

Muzik tradisional

Traditional music is the musical expression of Traditional culture.

Traditional music is the modern name for what used to be called "Folk music", before the term "Folk music" was expanded to include a lot of non-traditional material. The defining characteristics of traditional music are:

  • Oral transmission: The music is passed down, or learned, through singing and listening and sometimes dancing
  • Cultural basis: The music derives from and is part of the traditions of a particular region or culture.

Regional and national music

It is possible to categorize music geographically. For example, the term "Australian music" could include Australian rock music, Australian traditional music in the European style (eg. Waltzing Matilda), Aboriginal Australian music, Australian classical music, and Australian Jazz.

Fusional origins

In the West, nearly all music except Traditional music has a fusional origin.

A fusion genre is a music genre that combines two or more genres. For example, rock and roll originally developed as a fusion of blues, gospel and country music. The main characteristics of fusion genres are variations in tempo, rhythm and sometimes the use of long musical "journeys" that can be divided into smaller parts, each with their own dynamics, style and tempo.

Artists who work in fusion genres are often difficult to categorise within non-fusion styles. Most styles of fusion music are influenced by various musical genres. While there are many reasons for this, the main reason is that most genres evolved out of other genres. When the new genre finally identifies itself as separate, there is often a large gray area in which musicians are left. These artists generally consider themselves part of both genres. A musician who plays music that is dominantly blues, influenced by rock, is often labelled a blues-rock musician. The first genre is the one from which the new one evolved. The second genre is the newer and less-dominant genre in the artist's playing. An example of a blues-rock group would be Stevie Ray Vaughan and Double Trouble. Vaughan, a Texas blues guitarist, surrounded by a world in which rock was dominating music, used rock and blues together.

Aversion to different genres

Many people have great aversion to genres differing widely from that which they prefer.

Rujukan

  1. ^ Green, Douglass M. (1965). Form in Tonal Music. Holt, Rinehart, and Winston, Inc. m/s. 1. ISBN 0030202868. Cite has empty unknown parameter: |coauthors= (bantuan)
  2. ^ van der Merwe, Peter (1989). Origins of the Popular Style: The Antanddececedents of Twentieth-Century Popular Music. Oxford: Clarendon Press. m/s. 3. ISBN 0-19-316121-4. Cite has empty unknown parameter: |coauthors= (bantuan)
  3. ^ Moore, Allan F. "Categorical Conventions in Music Discourse: Style and Genre" Music & Letters, Vol. 82, No. 3 (Aug., 2001), pp. 432-442
  4. ^ McLeod, Kembrew (2001). "Genres, Sub-Genres, Sub-Sub-Genres, etc.: Sub-Genre Naming In Electronic/Dance Music". JOURNAL OF POPULAR MUSIC STUDIES (13): 59–75. |access-date= requires |url= (bantuan)
  • "Genre." The New Grove Dictionary of Music and Musicians. Grove Music Online.
  • Holt, Fabian (2007). Genre in Popular Music. Chicago: University of Chicago Press. Cite has empty unknown parameter: |coauthors= (bantuan)
  • Negus, Keith (1999). Music Genres and Corporate Cultures. New York: Routledge. ISBN 041517399X. Cite has empty unknown parameter: |coauthors= (bantuan)

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