David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
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Why are some popular musical forms and performers universally reviled by critics and ignored by scholars-despite enjoying large-scale popularity? How has the notion of what makes "good" or "bad" music changed over the years-and what does this tell us about the writers who have assigned these tags to different musical genres? Many composers that are today part of the classical "canon" were greeted initially by bad reviews. Similarly, jazz, country, and pop musics were all once rejected as "bad" by the academy that now has courses on these and many other types of music. This book addresses why this is so through a series of essays on different musical forms and performers. It looks at alternate ways of judging musical performance beyond the critical/academic nexus, and suggests new paths to follow in understanding what makes some music "popular" even if it is judged to be "bad." For anyone who has ever secretly enjoyed ABBA, Kenny G, or disco, Bad Music will be a guilty pleasure!
|Keywords||Music Philosophy and aesthetics Music History and criticism|
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|Buy the book||$22.50 used (48% off) $33.98 new (21% off) $39.76 direct from Amazon (8% off) Amazon page|
|Call number||ML3800.B13 2004|
|ISBN(s)||9780415943659 0415943655 0415943663 9780415943666|
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Eliot Bates, Glitches, Bugs, and Hisses : The Degeneration of Musical Recordings and the Contemporary Musical Work.
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Rock Critics Need Bad Music, I Like Bad Music.” That's My Usual Response to People Who Ask Me About My Musi.
Pop Music, Music Critics and Aestheticians Are, on the Surface, Advocates and Guardians of Good Music. But What Exactly is “Good.
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Christopher Washburne & Maiken Derno, Trivial Music (Trivialmusik) : "Preface" and "Trivial Music and Aesthetic Judgment".
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