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"It's All the Same": Genre Generaliz...

Washington, Clinton James, III.

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"It's All the Same": Genre Generalization in the American Music Industry.

Record Type:	Electronic resources : Monograph/item
Title/Author:	"It's All the Same": Genre Generalization in the American Music Industry./
Author:	Washington, Clinton James, III.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2024,
Description:	94 p.
Notes:	Source: Masters Abstracts International, Volume: 85-12.
Contained By:	Masters Abstracts International85-12.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31141700
ISBN:	9798382782157

"It's All the Same": Genre Generalization in the American Music Industry.
Washington, Clinton James, III.

"It's All the Same": Genre Generalization in the American Music Industry. - Ann Arbor : ProQuest Dissertations & Theses, 2024 - 94 p.

Source: Masters Abstracts International, Volume: 85-12.

Thesis (M.M.)--The Florida State University, 2024.

The American music industry uses genre to efficiently organize music into digestible forms for consumers, critics, and creators. The trade-off for efficiency in this industry is fewer genre options, which leads to songs and artists being placed in imprecise categories. Across the American music industry, streaming platforms (e.g. Spotify), media (e.g. Billboard), distributors (e.g. record stores), and award shows affect how artists' music is viewed, assessed, heard, and consumed. A prime example of commercial efficiency is the misplacement of artists into specific award categories at the Recording Academy's Grammy Awards Show. In the past year, this has resulted in Drake and The Weekend, two of the biggest pop music stars in the world, withholding their music for the 2023 Grammy submission. Their decision is a reaction to the Recording Academy's inaccurate assessment of artists and their work. Across the industry, genre handling has provided many results that benefit various parties. This thesis aims to examine how the music industry's efficient approach to handling genre compares to that of the fans who consume music daily.Genre is ever-evolving by the people who make and consume it, but it is limited to the musical elements deemed a standard of that genre by American music companies. David Brackett states that the music industry uses "marketing categories" with varying rules and restrictions that are amendable to the organization of music. In contrast, fans view music as "critic-fan genres" with specific rules and qualifications for artists and songs to fit into particular genres. I will extend Brackett's genre theory by providing further insight into how the American music industry's approach to genre affects artists and consumers. To accomplish this, I will use ethnographic methods and music analysis to provide critical commentary and analytical proof for my discussion on genre. I understand that the music industry encompasses all areas of music, so I{A0}will use hip-hop and Latin trap as case studies to show how people associated with the most popular music genres are affected. By providing a detailed examination of how the industry and consumers view well-known genres, I would like this thesis to assist consumers and music industry insiders in learning how to improve the current genre classification system across the American music industry.

ISBN: 9798382782157Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Genre

"It's All the Same": Genre Generalization in the American Music Industry.
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520 $a The American music industry uses genre to efficiently organize music into digestible forms for consumers, critics, and creators. The trade-off for efficiency in this industry is fewer genre options, which leads to songs and artists being placed in imprecise categories. Across the American music industry, streaming platforms (e.g. Spotify), media (e.g. Billboard), distributors (e.g. record stores), and award shows affect how artists' music is viewed, assessed, heard, and consumed. A prime example of commercial efficiency is the misplacement of artists into specific award categories at the Recording Academy's Grammy Awards Show. In the past year, this has resulted in Drake and The Weekend, two of the biggest pop music stars in the world, withholding their music for the 2023 Grammy submission. Their decision is a reaction to the Recording Academy's inaccurate assessment of artists and their work. Across the industry, genre handling has provided many results that benefit various parties. This thesis aims to examine how the music industry's efficient approach to handling genre compares to that of the fans who consume music daily.Genre is ever-evolving by the people who make and consume it, but it is limited to the musical elements deemed a standard of that genre by American music companies. David Brackett states that the music industry uses "marketing categories" with varying rules and restrictions that are amendable to the organization of music. In contrast, fans view music as "critic-fan genres" with specific rules and qualifications for artists and songs to fit into particular genres. I will extend Brackett's genre theory by providing further insight into how the American music industry's approach to genre affects artists and consumers. To accomplish this, I will use ethnographic methods and music analysis to provide critical commentary and analytical proof for my discussion on genre. I understand that the music industry encompasses all areas of music, so I{A0}will use hip-hop and Latin trap as case studies to show how people associated with the most popular music genres are affected. By providing a detailed examination of how the industry and consumers view well-known genres, I would like this thesis to assist consumers and music industry insiders in learning how to improve the current genre classification system across the American music industry.
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