Sincw 1980s Proved Most Adaptable and Widely Both Art and Popular Music Has Arguably Been Minimalism

American jazz vocaliser and songwriter Billie Holiday in New York City in 1947.

A revolution occurred in twentieth century music listening equally the radio gained popularity worldwide, and new media and technologies were developed to record, capture, reproduce and distribute music. Considering music was no longer limited to concerts and clubs, it became possible for music artists to rapidly gain fame nationwide and sometimes worldwide. Conversely, audiences were able to be exposed to a wider range of music than ever before, giving rise to the phenomenon of world music.

Contents

• 1 Influence of Twentieth century music
• 2 Classical
  • 2.i Gimmicky Classical Music
• 3 A Cultural Gap
• iv Pluralism and Diversity
• 5 Folk music
  • 5.ane Bluegrass Music
• 6 Popular music
  • 6.ane Popular and classical music
• seven Music and Morality
  • seven.one Blues
  • vii.2 Country music
  • 7.iii Jazz
  • 7.4 Stone and curl
  • 7.5 Progressive Rock
  • 7.six Punk rock
  • 7.7 Heavy metal
  • 7.8 Disco, funk, hip hop, salsa, and soul
  • vii.ix Electronic music
  • 7.10 World music
  • 7.xi New Historic period music
• viii Notes
• 9 References
• x Credits

Music performances became increasingly visual with the broadcast and recording of music videos and concerts. Music of all kinds also became increasingly portable. Headphones allowed people sitting next to each other to listen to entirely different performances or share the aforementioned performance. Copyright laws were strengthened, only new technologies also fabricated it easier to record and reproduce copyrighted music illegally.

Influence of Twentieth century music

Twentieth century music brought new freedom and wide experimentation with new musical styles and forms that challenged the accepted rules of music of earlier periods. The invention of electronic instruments and the synthesizer in the mid-twentieth century revolutionized popular music and accelerated the development of new forms of music. Eastern, Middle-Eastern, Latin, and Western sounds began to mix in some forms. Faster modes of transportation allowed musicians and fans to travel more widely to perform or listen. Amplification permitted giant concerts to be heard by those with the least expensive tickets, and the inexpensive reproduction and transmission or circulate of music gave rich and poor alike almost equal admission to high quality music performances.

Classical

In the twentieth century, many composers connected to work in forms that derived from the nineteenth century, including Rachmaninoff and Edward Elgar. However, modernism in music became increasingly prominent and important; amongst the first modernists were Bartók, Stravinsky, and Ives. Schoenberg and other twelve-tone composers such as Alban Berg and Anton von Webern carried this trend to its most extreme class by abandoning tonality altogether, along with its traditional conception of tune and harmony. The Impressionists, including Debussy and Ravel, sought new textures and turned their back on traditional forms, while often retaining more traditional harmonic progressions. Others such equally Francis Poulenc and the group of composers known as Les Half dozen wrote music in opposition to the Impressionistic and Romantic ideas of the time. Composers such as Milhaud and Gershwin combined classical and jazz idioms. Others, such as Shostakovich, Prokofiev, Hindemith, Boulez, and Villa-Lobos expanded the classical palette to include more dissonant elements without going to the extremes of the twelve-tone and series composers.

Pianist Arthur Rubinstein in 1962

Late Romantic nationalism spilled over into British and American music of the early on twentieth century. Composers such as Ralph Vaughan Williams, and Aaron Copland nerveless folk songs and used folk themes in many of their major compositions.

In the 1950s, aleatoric music was popularized by composers similar John Muzzle. Composers of this area sought to costless music from its rigidity, placing the performance to a higher place the limerick. Similarly, many composers sought to interruption from traditional functioning rituals by incorporating theater and multimedia into their compositions, going beyond audio itself to accomplish their artistic goals. In some cases the line is difficult to depict between genres. Meet rock opera.

Composers were quick to adopt developing electronic technology. As early on equally the 1940s, composers such every bit Olivier Messiaen incorporated electronic instruments into live performance. Recording engineering science was used to produce fine art music, likewise. The musique concrète of the late 1940s and 1950s was produced by editing together natural and industrial sounds. Steve Reich created music past manipulating tape recordings of people speaking, and later went on to etch process music for traditional instruments based on such recordings. Other notable pioneers of electronic music include Edgard Varèse, Karlheinz Stockhausen, Pauline Oliveros, Luigi Nono, and Krzysztof Penderecki. Equally more electronic engineering matured, and then did the music. Tardily in the century, the personal computer began to be used to create art music. In 1 common technique, a microphone is used to record alive music, and a program processes the music in existent time and generates some other layer of sound. Pieces have too been written algorithmically based on the analysis of large information sets.

Process music is linked to minimalism, a simplification of musical themes and development with motifs which are repeated over and over. Early minimalist compositions of the 1960s such as those past Terry Riley, Steve Reich, and Philip Glass stemmed from aleatoric and electronic music. Later, minimalism was adjusted to a more traditional symphonic setting past composers including Reich, Glass, and John Adams. Minimalism was adept heavily throughout the latter one-half of the century and has carried over into the twenty-outset century, every bit well, with composers like Arvo Pärt, Henryk Górecki and John Taverner working in the more pop "mystic minimalism" variant.

Gimmicky Classical Music

In the broadest sense, gimmicky music is whatever music being written in the present twenty-four hour period. In the context of classical music the term applies to music written in the last one-half century or and so, particularly works mail-1960. The argument over whether the term applies to music in any style, or whether it applies but to composers writing advanced music, or "modernist" music is a subject of serious debate. There is some use of "Gimmicky" as a synonym for "Modern," peculiarly in academic settings, whereas others are more restrictive and apply the term just to before long living composers and their works. Since information technology is a word that describes a time frame, rather than a particular style or unifying thought, there are no universally agreed on criteria for making these distinctions.

Many contemporary composers working the early on 20-first century were prominent figures in the twentieth century. Some composers such equally Alvin Etler, Oliver Knussen, Thomas Adès, and Michael Daugherty did non rise to prominence until belatedly in the twentieth century. For more examples run across: List of 21st century classical composers.

A Cultural Gap

At the outset of the twentieth century the "cosmic principles" that traversed the expanse of history were no longer considered eternal or immutable. Afterward the idea of transient artistic standards lacking ethical underpinnings became, in part, the basis of Arnold Schoenberg's explorations into serial techniques and the resulting "emancipation of dissonace." For the advocates of atonal serialism the Platonic concept of value in art existence the effect of the union of dazzler, truth and goodness was viewed as a quaint vestige of a foretime era.

The new music born of purly intellectual and formulaic principles resulted in music that was more often than not perceptually and cognitively opaque. Yet serialism and atonality continued to concord sway for much of the later one-half of the twentieth century. The appearance of atonal music was thought to be a natural and historical progression evolving out of Wagnerian chromaticism and thus held a position of privilege and inevitability.

All the same this view has been challenged with increasing regularity. Psychologist Walter J. Ong'due south comparison of artificial computer language and natural language is very instructive. Calculator languages, Ong writes, "do not grow out of the unconscious but directly out of the consciousness...the rules of grammar in natural languages are used beginning and can be abstracted from usage and stated explicitly in words only with difficulty and never completely." Serial music, in which rules are defined before the actual creative process begins is like in this regard.

This view is shared by Leonard Bernstein in his music/language illustration in the Harvard Lectures. Alluding to Schoenberg'south serial methods Bernstein states: "The problem is that the new musical 'rules' of Schoenberg are not apparently based on innate awareness, on the intuition of tonal relationships. They are like rules of an artificial language, and therefore must be learned. This would seem to lead to what used to be called 'form without content,' or form at the expense of content—structuralism for its own sake."

Music historian, Richard Taruskin, echoes this view when he writes, "Serial music conveys lilliputian, because for all its vaunted complexity it is shallow, all surface, with no underlying, unconscious and innate deep structure." The trendy ideological claim of historical "inevitability" doesn't concord upwardly in this context. The disconnect between the "content of the utterance" and the "manner of its commitment" becomes a constant irritant to those seeking to find pregnant and pleasure in their meet with music. Hence, the "cultural gap" between creator and audience.

Pluralism and Multifariousness

For the tonal arts these realities accept led to what musicologist Leonard B. Meyer refers to as a "fluctuating stasis" in which a plethora of musical styles would coexist in an increasingly diverse world. He writes: "Our culture—cosmopolitan world civilisation—is, and will continue to be, diverse and pluralistic. A multiplicity of styles, techniques and movements, ranging from the cautiously bourgeois to the rampantly experimental, will be side past side: tonality and serialism, improvised and aleatoric music, as well as jazz with its many idioms,and popular music... Through paraphrase borrowing, style simulation, and modeling, by and present will, modifying one another, come together not only within culture, but within the oeuvre of a single artist and within a single work of art."

The upshot of diversity and pluralism is that there remains no "triumphant" style in the realm of "classical" or "serious" art music; a status that should non be considered either negative or undesirable.

Folk music

Folk music, in the original sense of the term, is music by and of the people. Folk music arose, and best survives, in societies not yet affected past mass communication and the commercialization of culture. It unremarkably was shared and performed by the entire customs (non by a special class of skilful or professional performers, possibly excluding the thought of amateurs), and was transmitted past give-and-take of mouth (oral tradition).

During the twentieth century, the term folk music took on a second meaning: it describes a particular kind of popular music which is culturally descended from or otherwise influenced by traditional folk music, such as with Bob Dylan and other vocaliser-songwriters. This music, in relation to pop music, is marked past a greater musical simplicity, acknowledgment of tradition, frequent socially conscious lyrics, and is similar to land, bluegrass, and other genres in fashion.

In addition, folk was also borrowed by composers in other genres. The work of Aaron Copland conspicuously draws on American folk music. In add-on, Paul Simon has fatigued from both the folk music of Peru and S Africa, and was conspicuously instrumental in increasing the popularity of groups such as Ladysmith Black Mambazo although information technology is arguable that The Tokens' The Lion Sleeps Tonight is the first instance of such a crossover. The Indian sitar conspicuously influenced George Harrison and others.

Withal, many native musical forms accept also found themselves overwhelmed by the variety of new music. Western classical music from prior to the twentieth century is arguably more than popular now than it ever has been even as modern classical forms struggle to find an audience. Rock and Roll has as well had an upshot on native musical forms, although many countries such every bit Germany, Japan and Canada all have their own thriving native stone and scroll scenes that have often found an audience outside their dwelling marketplace.

Bluegrass Music

Bluegrass was started in the late 1930s past Bill Monroe. Performers such as Earl Scruggs and Lester Flatt who were originally members of Monroe'south Bluish Grass Boys further developed this style of music.

Popular music

Popular music, sometimes abbreviated pop music, is music belonging to any of a number of musical styles that are broadly pop or intended for mass consumption and propagated over the radio and similar media—in other words, music that forms office of popular culture.

Popular music dates at least equally far back as the mid-nineteenth century. In the United States, much of it evolved from folk music and blackness culture. Information technology includes Broadway tunes, ballads and singers such as Frank Sinatra.

Pop and classical music

The relationship (particularly, the relative value) of classical music and popular music is a controversial question:

Slap-up divisions between 'folk' and 'popular,' and 'pop' and 'art,' are incommunicable to observe... arbitrary criteria [are used] to ascertain the complement of 'popular.' 'Art' music, for example, is generally regarded every bit by nature complex, difficult, demanding; 'popular' music and so has to be defined as 'uncomplicated,' 'accessible,' 'facile.' But many pieces normally thought of as 'art' (Handel'due south 'Hallelujah Chorus,' many Schubert songs, many Verdi arias) accept qualities of simplicity; conversely, it is by no means obvious that the Sex Pistols' records were 'accessible,' Frank Zappa'south work 'elementary,' or Billie Holiday's 'facil.'^[ane]

Moreover, composers such equally Scott Joplin and George Gershwin tried to cater to both popular and high forehead tastes, and for the most part succeeded at both. In add-on, the argument is non new—composers as varied every bit Mozart and Arthur Sullivan had no difficulty in catering to popular taste when information technology was required, although their credentials as serious composers are also unchallenged. Classical music influenced popular music in pic scores, theater, popular songs, and in the instrumentation used in popular music. Likewise, electronic instruments and styles were incorporated into some classical pieces.

Music and Morality

It has become evident that in the twentieth century the condition of art music in Western culture has undergone a transformation that few could have envisaged 1 hundred years agone. The reasons for this transformation are many and varied including the influence of technology, the media, multiculturalism, commercialism, the increased emphasis on visual media and various philosophical, ideological and social changes.

Perchance the most significant philosophical change in out attitudes about art music (and art in general) is that religion, for so long the "moral compass" of gild, is no longer the strong force in guiding society in the matters of morality and ethics, resulting in what educator and writer Allan Flower referred to as a condition of "moral and cultural relativism." One result of an increasingly secular club has been that artists are less aware of the moral and ethical power of fine art and in many cases have slipped into a relativist mindset regarding their creative endeavors.

Blues

Dejection is a song and instrumental musical grade which evolved from African American spirituals, shouts, work songs and chants and has its earliest stylistic roots in W Africa. Dejection has been a major influence on later American and Western popular music, finding expression in ragtime, jazz, big bands, rhythm and blues, rock and roll, and country music, likewise equally conventional pop songs and even mod classical music.

In the late nineteenth and early twentieth centuries, W.C. Handy took blues across the tracks and fabricated it respectable, even "high-toned."

State music

Country music, once known as Land and Western music, is a popular musical form developed in the southern United States, with roots in traditional folk music, spirituals, and the blues.

Vernon Dalhart was the beginning state vocalist to have a nation-broad hitting (May, 1924, with "The Wreck Of Sometime '97").

Some trace the origins of modernistic country music to ii seminal influences and a remarkable coincidence. Jimmie Rodgers and the Carter Family unit are widely considered to be the founders of land music, and their songs were commencement captured at an historic recording session in Bristol, Tennessee on Baronial one, 1927, where Ralph Peer was the talent spotter and sound recordist. It is considered possible to categorize many state singers as being either from the Jimmie Rodgers strand or the Carter Family strand of state music.

Land music also received an unexpected heave from new technologies. When ASCAP, which was dominated by Tin Pan Aisle composers feared competition from circulate music, they stopped licensing their copyrights to radio stations. Their replacement, BMI, was dominated by land artists and gave the genre a much wider audience.

Country music is fairly controversial, with fans and detractors feeling strongly about the music's worth, values, and pregnant. President George H. West. Bush declared October, 1990 "Country Music Month" commemorating Us characteristics present in country such equally, "our organized religion in God, our devotion to family, and our appreciation for the value of freedom and hard work." Implied in the evocation of these conservative values is a view oftentimes held by detractors of country equally bourgeois, (poor white), sexist, and racist music. Professional land guitarist Aaron Fox explains that, "for many cosmopolitan Americans, specially, country is 'bad' music precisely because information technology is widely understood to signify an explicit claim to whiteness, non as an unmarked, neutral status of lacking (or trying to shed) race, but as a marked, foregrounded merits of cultural identity—a bad whiteness...unredeemed by ethnicity, folkloric authenticity, progressive politics, or the noblesse oblige of elite musical civilisation."

Jazz

Jazz is a musical art form characterized by blue notes, syncopation, swing, call and response, polyrhythms, and improvisation. It has been called the first original art form to develop in the United States of America and partakes of both popular and classical musics.

It has roots in West African cultural and musical expression, in African American music traditions, including blues and ragtime, and European military band music. After originating in African-American communities effectually the showtime of the twentieth century, jazz gained international popularity past the 1920s. Since then, jazz has had a profoundly pervasive influence on other musical styles worldwide including classical and popular music.

Jazz has also evolved into many sometimes contrasting subgenres including smooth jazz and free jazz.

Rock and ringlet

Stone and roll emerged as a defined musical style in America in the 1950s, though elements of rock and roll can be seen in rhythm and blues records equally far dorsum as the 1920s. Early rock and roll combined elements of blues, boogie woogie, jazz, and rhythm and blues, and is also influenced by traditional Appalachian folk music, gospel and country and western.

Chuck Berry, Fats Domino, and Elvis Presley were notable performers in the 1950s. The Beatles were part of the "British invasion" in the 1960s. In 1951, the words "stone, roll" were used in a vocal called "60 Minute Man," which was banned due to its implications. By 1953 such ballads every bit "Earth Angel" and "Gee" were played past notable disc jockeys in Cleveland and New York as Allen Freed and Murray the K. By 1956, Dick Clark had one of several pop Television programs "American Bandstand" to show teenagers dancing to the new kind of music aimed specially at teens and adolescents. Though mocked by older generation equally "jungle or the devil's music," its popularity grew through the side by side 10 years until by the cease of the century it was arguably the most popular course of music on the planet, with fans from every age group in virtually every country of the world.

However, attempting to classify Stone and Scroll equally a single genre continues to exist difficult as information technology tin comprehend a wide diversity of musical forms. It can exist as carefully crafted as a song by Queen, or an anthology produced by Phil Spector, or as straightforward as a three-chord composition past The Ramones, or as poetic as a song written by Bob Dylan. Although information technology is conspicuously divers past the use of guitars and drum kits, virtually no instrument can now be excluded from a rock band, including the piccolo trumpet used in The Beatles' Penny Lane, the cello that graced virtually of the work of the Electric Light Orchestra, or fifty-fifty "Weird Al" Yankovic'south accordion. Rock revolutionized theater. See stone musical and rock opera.

Progressive Rock

Progressive rock was a movement to incorporate the more than circuitous structures and instrumentation of jazz and classical music into the limitations of Rock and Roll. Mainly a European motility, information technology started in the United Kingdom in the 1960s with bands like Pink Floyd and Genesis, and reached its peak popularity during the early on 1970s, when albums similar Pink Floyd'south "Night Side of the Moon" and Mike Oldfield's "Tubular Bells" dominated the charts.

Major characteristics were long compositions, circuitous lyrics, a wide range of instruments, unusual time signatures, and the inclusion of long solo passages for different instruments.

Punk rock

Punk stone was originally a style of hard rock played at fast speeds with simple lyrics and fewer than three chords, which originated in the mid 1970s, with bands similar Idiot box, the Ramones, and the Sexual practice Pistols. The main instruments used were electric guitar, electric bass, and drums. It evolved into punk (even faster songs with shouted lyrics), New Wave (more pop influenced and used electronic keyboards) and mail service punk (originally sounded more than, evolved more than into new wave) in the 1980s, and these evolved farther into punkabilly (a fusion of punk rock and rockabilly), ska punk (a fusion with ska), grunge (a mix of punk stone and alternative rock), pop punk (a evolution of punk rock with cleaner sounds), Emo (emotionally-charged punk rock), gothic rock (introverted lyrics), and many more genres.

Heavy metal

Heavy metal is a form of music characterized by ambitious, driving rhythms and highly amplified distorted guitars, generally with grandiose lyrics and virtuosic instrumentation. Central to this genre is the use of riffs as a melodic and narrative element.

Heavy metal is a evolution of blues, blues rock and rock. Its origins prevarication in the hard rock bands like Led Zeppelin, Aerosmith, Deep Imperial and Blackness Sabbath, who between 1967 and 1974 took blues and stone and created a hybrid with a heavy, guitar and drums centered sound. Heavy metal had its peak popularity in the 1980s, during which many of the now existing subgenres first evolved. Though not every bit commercially successful as information technology was so, heavy metal withal has a large worldwide following.

Some subgenres brought about through either natural development or the convergence of metal with other genres include, but are not limited to Thrash, Expiry Metal, Industrial, and Blackness Metal.

Disco, funk, hip hop, salsa, and soul

Soul music is fundamentally rhythm and blues, which grew out of the African-American gospel and blues traditions during the late 1950s and early 1960s in the United states. Over fourth dimension, much of the broad range of R&B extensions in African-American popular music, by and large, as well has come to be considered soul music. Traditional soul music usually features individual singers backed by a traditional band consisting of rhythm section and horns, equally exemplified by Aretha Franklin.

Funk is a distinct style of music originated by African-Americans, for example, James Brown and his band members (particularly Maceo and Melvin Parker), and groups like The Meters. Funk best can be recognized past its syncopated rhythms; thick bass line (often based on an "on the one" shell); razor-precipitous rhythm guitars; chanted or hollered vocals (as that of Cameo or the Bar-Kays); strong, rhythm-oriented horn sections; prominent percussion; an upbeat mental attitude; African tones; danceability; and strong jazzy influences (equally in the music of Herbie Hancock, George Duke, Eddie Harris, and others).

Salsa music is a diverse and predominantly Caribbean rhythm that is popular in many Latin countries. The word is the aforementioned as the salsa meaning sauce. Who practical this proper noun to the music and trip the light fantastic toe and why remains unclear, only all agree that the proper noun fits, metaphorically referring the music and dance being "saucy" and "tasty." However, the term has been used past Cuban immigrants in New York analogously to swing.^[ii]

Disco is an upwards-tempo manner of trip the light fantastic toe music that originated in the early on 1970s, mainly from funk, salsa, and soul music, popular originally with gay and blackness audiences in large U.Southward. cities, and derives its name from the French word discothèque (meaning nightclub).

Hip hop music is traditionally equanimous of ii principal elements: rapping (as well known as MC'ing) and DJing, and arose when DJs began isolating and repeating the percussion suspension from funk or disco songs.

Electronic music

The twentieth century brought the first truly innovative instrument in centuries—the theremin. For centuries before, music had either been created past cartoon hair across taught metal strings (string instruments), constricting vibrating air (woodwinds and brass) or hitting something (percussion). The theremin, which operated past interrupting a magnetic field effectually the instrument, did not even have to be touched to produce a tone. Although its inventor (Leon Theremin) originally developed it for classical music as a mode to forbid the repetitive stress injuries that often plagued musicians, information technology found use both as an musical instrument for scoring movies (Forbidden Planet) and in rock and roll (The Embankment Boys' Good Vibrations).

As noted to a higher place, in the years following Globe War II, electronic music was embraced past progressive composers, and was hailed every bit a manner to exceed the limits of traditional instruments. Although electronic music began in the world of classical limerick, past the 1960s Wendy Carlos had popularized electronic music through the use of the synthesizer developed by Robert Moog with two notable albums The Well-Tempered Synthesizer and Switched-On Bach.

In the 1970s musicians such every bit Tangerine Dream, Suzanne Ciani, Klaus Schulze, Kraftwerk, Vangelis, Brian Eno, Jean Michel Jarre, and the Japanese composers Isao Tomita and Kitaro further popularized electronic music, and the film industry also began to make extensive apply of electronic soundtracks. From the belatedly 1970s onward, much popular music was adult on synthesizers by pioneering groups similar Sky 17, The Human League, Art of Noise, and New Club. The development of the techno sound in Detroit, Michigan and house music in Chicago, Illinois in the early to belatedly 1980s, and the after new beat and acid house movements of the late 1980s and early 1990s all fueled the evolution and acceptance of electronic music into the mainstream and introduced electronic dance music to nightclubs.

Subgenres include, but are not limited to, a variety of trip the light fantastic toe oriented music (Techno, Trance, Goa, Business firm, Drum and Bass, Jungle, Pause Beats) as well every bit IDM, Trip Hop, Ambient, Dark Wave, and Experimental. Because of the recent explosion of electronic music, the lines betwixt electronic subgeneres can exist fuzzy and some of the above mentioned may be considered redundant or further subgenres themselves.

World music

To begin with, all the diverse musics listed in the 1980s nether the broad category of world music were folk forms from all around the earth, grouped together in lodge to brand a greater bear upon in the commercial music market. Since then, however, earth music has both influenced and been influenced by many unlike genres like hip hop, pop, and jazz. The term is unremarkably used for all music made in a traditional way and outside of the Anglo-Saxon world, thus encompassing music from Africa, Latin America, Asia, and parts of Europe, and music by not native English language speakers in Anglo-Saxon countries, like Native Americans or Indigenous Australians.

World music radio programs these days will oft be playing African or reggae artists, crossover Bhangra, Cretan Music, and Latin American jazz groups, etc.

New Age music

Electronic and world music, together with progressive stone and religious music are the elements from which new historic period music has developed. Works inside this genre tend to exist predominantly peaceful in overall style simply with an emphasis on energy and gentle vibrancy. Pieces are composed to aid meditation, to energize yoga, tai chi and do sessions or to encourage connections to the planet World (in the sense of a spiritual concept of Female parent Earth or, perchance Gaia). There are too new historic period compositions which sit as comfortably in the world music category.

New age music has adult from genre-crossing piece of work like Neil Diamond'south soundtrack music for the film Jonathan Livingston Seagull, from culling jazz/stone/classical bands like Third Ear Band or Quintessence and experimental work in general. One advantage of this category is that it enables musicians the liberty to do piece of work which might have been stifled elsewhere. Enthusiasts of new age music mostly share a gear up of core mutual understandings including a belief in the spirit and in the ability to modify the world for the improve in peaceful ways.

Popular new age artists of the twentieth century include Suzanne Ciani, Enya, Yanni, Kitaro, George Winston (solo piano), and many more than. Labels include Individual Music, Windham Loma, Narada, Higher Octave among others. Private Music and Windham Hill after merged into the BMG grouping and reorganized under RCA/Victor, while Narada joined with Higher Octave and EMI.

Notes

1. ↑ Richard Middleton, Studying Popular Music (Philadelphia: Open University Press, 1990, ISBN 978-0335152759).
2. ↑ Alan Jones and Jussi Kantonen, Saturday Night Forever: The Story of Disco (Chicago Review Press, 2000, ISBN 978-1556524110).

References

ISBN links support NWE through referral fees

• Ewen, David. The complete book of 20th century music. Englewood Cliffs, NJ: Prentice-Hall, 1959. OCLC 615607
• Gardner, Edward Foote. Popular Songs of the Twentieth Century. vol. 1, St. Paul, MN: Paragon House, 2000. ISBN 1557787891
• Jones, Alan, and Jussi Kantonen. Sat Night Forever: The Story of Disco. Chicago Review Press, 2000. ISBN 978-1556524110
• Machlis, Joseph. Introduction to contemporary music. New York: West.W. Norton, 1961. OCLC 381680
• Middleton, Richard. Studying Pop Music. Philadelphia: Open University Press, 1990. ISBN 978-0335152759
• Salzman, Eric. 20th century music: an introduction. Englewood Cliffs, NJ: Prentice-Hall, 1967. OCLC 606812

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