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re: microsound as pop music



i think the easiest defintion of pop music is any music found on a clear channel owned radio station or a viacom owned music television station. if there's advertising associated, it's pop. the tried and true test of pop is whether it sells.

pop = popular - ular. so i'd say pop music is what the majority listens to. pop is the majority-rules course of evolution. it samples from all the different capillary music minorities and distills it into something neccessarily tiny (pop isn't a 40 minute tape loop of crackle pop hiss. it's 1-3 minutes of hook and filler appropriately placed to hold attention) and easily digestible ("you'd heard it but you hadn't heard it before") and sets it afloat among many other similar tinys from other capillaries. tinies.

the distinction between pop and academic music has something to do with intent. pop's main goal is to entertain (in order to make money), while academic music seems primarily concerned with exploring the unexplored and teaching about what comes up in that search. the categories "academic" and "pop" are by no means exclusive. microsound could lie in either category (or both or there could be a pop subset within academic microsound) but i suspect it would primarily sit in academic because most clearchannel/viacom consumers don't know that microsound exists. alternatively: kim cascone is not on mtv.

pop and academic music both evolve and so both are driven by new. academicnew is new for new's sake, while popnew seems to be new only so much that it entertains. both are new on the scale/scope they're operating. pop does later what academic did first. this makes sense, as it takes time for the academic discoveries to be absorbed by pop and this time is the delay between academicnew and popnew.

pop is a compression scheme.
pop is grey, medium, 52%.
don't fear the pop. love the pop.

like (maybe) everything, this email needs a lot more sometimes', maybes, perhaps', and possiblys and seems'






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