Brown1 Morgan Brown 300263049 Eng1100: Workshop in Essay Writing Aaron Kaiserman 14 Dec 2022 The Contrast Between Classical and Popular Music Due to western culture being the point of origin for classical music, it was the stepping stone for the creation of classical music (Van der Merwe 1), a genre that has had a profound influence on the development of Western civilization. In the journal, “Classical music as genre: Hierarchies of value within freelance classical musicians’ discourses by Anna Bull and Christina Scharff”, classical music is described as “Western art music” (Bull and Scharff 2021), for its intricate structure, which well defines the genre. Furthermore, classical music also played a key role in the development of newer music genres like popular music. That said, there is an apparent contrast between classical and popular music. This can be seen in the way they are composed and performed, having different effects on an individual depending on which category is observed. Moreover, the threat that each genre poses to each other plays a significant role in their distinction. To begin, popular music is a very mainstream form of music that is listened to by many people. It also represents a large variety of music genres, such as hip-hop, rock, and jazz. In “Mainstream Popular Music Research: a Musical Update,” when describing popular music, it is Brown2 stated that “popular music provides a multiple casement window through which it is possible to identify and critically understand, comparatively, the mechanisms of cultural globalisation influence and the individual and collectively shared realities of meaningful experience (Jost 2016, p. 164)” (Steinbrecher 2021) To elaborate, popular music aims to leave a lasting impression on those who listen to it by conveying a message through its music. These messages can vary, with some songs covering social issues to others talking about a significant encounter. Therefore, popular music has a positive effect on those who listen to it due to the manner in which the music is expressed. Comparably, classical music, which has been around for quite some time, is known for being intricate, complex, and sophisticated. With one of the most common ways of being performed being by orchestras. In “Classical Music as Genre: Hierarchies of Value Within Freelance Classical Musicians’ Discourses,” written by Anna Bull and Christina Scharff, it is specified that “classical music can be identified within the existing literature. In music education, Lucy Green (2003: 16), drawing on research with music teachers, has identified ideological values that are ascribed to classical music: universality, autonomy from social concerns, complexity, and originality.” (Anna, and Scharff 2021) To explain, classical music aims to portray concepts, with these ideas being shown through the music's complexity and intricacy, which is the main focal point of classical music. Thus, the goal of classical music, which is noted for its complexity and intricate compositions, is to convey numerous thoughts and concepts through its melody. With this established, Classical and popular music are two categories which can be seen as distinct from one another. One of these differences can be seen in the composition of both groups. For starters, the musical instruments used in classical and popular music are quite different from one another. For example, classical music tends to use a large variety of Brown3 sophisticated instruments and is usually performed by an orchestra, with different sections being responsible for their own part in the song. In contrast, popular music tends to use simpler instruments such as the drums, guitar, and piano. With singing being a major factor in the music piece, and with the songs commonly being created by smaller groups of individuals. Furthermore, depending on the genre of music, it can be observed that the musician has a different way of working. For instance, in the journal “Does genre make a difference? Classical orchestra/popular band musicians’ motivation, self-efficacy, and practice experiences’ effects on deliberate practice” a study was conducted by Simon Schidt and Hans Gruber, where they tested if the there was a difference in the way musicians would practice when comparing classical to popular music. The study concludes that “The results show that classical musicians were younger than popular musicians when they started to learn their first and main music instrument and entered their first orchestra or band.” and “as professional musicians from both genres deploy deliberate practice strategies in an individual and in a collective context. Improvisation and jamming, however, only appeared in the popular collective” (Schidt and Gruber 2022). To illustrate, in observing the different ways both genres tend to practice, classical musicians are stricter and more in line with a certain standard that classical music holds. On the other hand, musicians who make popular music tend to be more unpremeditated and more laid-back. In short, despite the musicians in each genre having a similar work ethic, the way they apply their practice is completely different. Following that, another differing aspect of classical and popular music is the way they are performed. For starters, classical music is mainly performed in theatres by an orchestra, requiring a professional amount of skill to properly play the music piece with the aid of a large variety of instruments. On the other hand, a very common way of consuming popular music is by radio. With this says, in a study recorded in “Are Popular and Classical Music Listeners the Same Brown4 People?” It is concluded that the interest in popular music decreases the older a person gets, with that interest being replaced with classical music (Prieto-Rodríguez and Fernández-Blanco 160). To elaborate, popular music is more prevalent with younger people compared to the older generations, who preferably enjoy classical music. Thus, enforcing the idea that classical music is more of an orderly and complex, which would appeal more towards older people for maturity, and popular music is more listened to by a younger representation due to its simplistic nature. Lastly, classical and popular music are two distinct categories that cause problems for one another. For starters, classical music still faces objections to this day. For example, in the article “Music in Times of Economic Distress” it is said that “The explosive worldwide growth of popular music has created a competitive tension between classical ‘art’ music and popular music that performers and composers in the past would not recognize” (Botstein 173). To elaborate, as they represent two very distinct musical traditions and genres, there is frequently conflict between classical and popular music. While popular music is frequently considered more accessible, classical music is generally seen as more polished and complex. This conflict may appear in a variety of ways, such as when listeners of popular music may consider classical musicians and composers to be elitist or out of touch, while classical artists and composers may look down on popular music as being unsophisticated or unpolished. Consequently, as a result of the distinctions between these two musical traditions, there has been a long-standing and complicated conflict between classical and popular music. In conclusion, the two main musical subgenres of classical and popular music are frequently seen as separate from one another, with classical music being more sophisticated and targeted towards a more intellectual audience. Opposed to popular music, which is more accessible and more informal. Despite these differences, both classical and popular music have the capacity to uplift and inspire listeners, and both have made a substantial contribution to the Brown5 development of the global cultural environment. The apparent discrepancy between classical and popular music reflects the distinctive histories, customs, and values of the countries in which they were produced and can shed light on the social dynamics and cultural dynamics that influence our environment. We may better comprehend and appreciate the diversity of human experience and the rich cultural legacy that is all around us by knowing and respecting the contrasts between these two genres of music. Work Cited Giannouli, V., and N. Syrmos. “Applications of Classical and Traditional Folk Music in Psychiatric Settings.” European Psychiatry, vol. 33, no. S1, 2016, https://doi.org/10.1016/j.eurpsy.2016.01.1919. LeBlanc, Larry. “Interest in Canadian Music History Pops Up.” Billboard, vol. 103, no. 48, 1991, p. 37. https://link.gale.com/apps/doc/A11613343/AONE?u=otta77973&sid=bookmarkaaaaaaaAONE&xid=8fda4f58 Weston, Leanne. “(Re)writing Music History: Television, Memory, and Nostalgia in The People’s History of Pop.” The Velvet Light Trap, vol. 88, no. 88, 2021, pp. 59–70, https://doi.org/10.7560/VLT8806. Brown6 Bull, Anna, and Christina Scharff. “Classical Music as Genre: Hierarchies of Value Within Freelance Classical Musicians’ Discourses.” European Journal of Cultural Studies, vol. aaaaaaa24, no. 3, 2021, pp. 673–89, https://doi.org/10.1177/13675494211006094. Van der Merwe, Peter. Roots of the Classical the Popular Origins of Western Music. Oxford University Press, 2004. aaaaaaahttps://oculuo.primo.exlibrisgroup.com/permalink/01OCUL_UO/5lqjs2/alma991045185a aaaaaaa968105161 Mauch, Matthias, et al. “The Evolution of Popular Music: USA 1960–2010.” Royal Society Open Science, vol. 2, no. 5, 2015, pp. 150081–150081, https://doi.org/10.1098/rsos.150081. Steinbrecher, Bernhard. “Mainstream Popular Music Research: a Musical Update.” Popular Music, vol. 40, no. 3-4, 2021, pp. 406–27, https://doi.org/10.1017/S0261143021000568. Schmidt, Simon, and Hans Gruber. “Does Genre Make a Difference? Classical Orchestra/popular Band Musicians’ Motivation, Self-Efficacy, and Practice Experiences’ Effects on Deliberate Practice.” Psychology of Music, 2022, p. 30573562210836–, https://doi.org/10.1177/03057356221083699. JUAN PRIETO-RODRÍGUEZ, and VÍCTOR FERNÁNDEZ-BLANCO. “Are Popular and Classical Music Listeners the Same People?” Journal of Cultural Economics, vol. 24, no. 2, 2000, pp. 147–64, https://doi.org/10.1023/A:1007620605785. Brown7 Botstein, Leon. “Music in Times of Economic Distress.” The Musical Quarterly, vol. 90, no. 2, 2007, pp. 167–75, https://doi.org/10.1093/musqtl/gdn023.
