Re: [microsound] microsound as pop music

[Beni Borja <beni.borja@xxxxxxxxxx>]

Making record sales the benchmark for an distiction between pop and
"serious"music  only highlights the aesthetic irrelevance of trying to build
a fence around academic-sponsored music.

How many records can someone sell , before it's work is labeled as "pop"?

Beni


----- Original Message -----
From: "Jethro" <jethrokins@xxxxxxxxx>
To: "microsound" <microsound@xxxxxxxxxxxxx>
Sent: Wednesday, July 17, 2002 2:11 AM
Subject: Re: [microsound] microsound as pop music


>
> >
> > Not sure this is true- e.g. the Quadrophenia liner
> > notes are full of
> > extra-musical justifications.
>
> I did say 'tends'; there's always exceptions...
>
> >You'll also have no
> > trouble finding academic
> > papers analysing, say, Brian Wilson harmonic
> > structures or other
> > inter-musical meaning in pop music.
>
> That doesn't count because (as you acknowledged) it's
> after-the-fact analysis instead of the current
> state-of-mind when it was written.  You can
> academicize anything.  And they do.
>
> >I'm not so interested in the
> > pop/academic distinction-
> > microsound is strictly neither, it is what it is.
>
> But pop(ular) music sells millions of records,
> generating huge revenues for corporations.  Academic
> music is usually supported by grants, and is listened
> to by a small group of listeners.  They are very, very
> different. There is a distinction.
>
>
>
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