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The Government-purposed Genre
by
Jennifer C. Lena
in
Anthropology
/ Applied anthropology
/ Artists
/ Arts
/ Behavioral sciences
/ Cultural anthropology
/ Economic disciplines
/ Economics
/ Employment
/ Folk culture
/ Folk music
/ Folkloristics
/ Government
/ Labor economics
/ MUSIC
/ Music composition
/ Music genres
/ Music instrumentation
/ Music theory
/ Musical forms
/ Musical performance
/ Musicians
/ Occupations
/ Performing arts
/ Political science
/ Popular music
/ Rock music
/ Sociology
/ Sociology: sport & leisure
2012
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The Government-purposed Genre
by
Jennifer C. Lena
in
Anthropology
/ Applied anthropology
/ Artists
/ Arts
/ Behavioral sciences
/ Cultural anthropology
/ Economic disciplines
/ Economics
/ Employment
/ Folk culture
/ Folk music
/ Folkloristics
/ Government
/ Labor economics
/ MUSIC
/ Music composition
/ Music genres
/ Music instrumentation
/ Music theory
/ Musical forms
/ Musical performance
/ Musicians
/ Occupations
/ Performing arts
/ Political science
/ Popular music
/ Rock music
/ Sociology
/ Sociology: sport & leisure
2012
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Do you wish to request the book?
The Government-purposed Genre
by
Jennifer C. Lena
in
Anthropology
/ Applied anthropology
/ Artists
/ Arts
/ Behavioral sciences
/ Cultural anthropology
/ Economic disciplines
/ Economics
/ Employment
/ Folk culture
/ Folk music
/ Folkloristics
/ Government
/ Labor economics
/ MUSIC
/ Music composition
/ Music genres
/ Music instrumentation
/ Music theory
/ Musical forms
/ Musical performance
/ Musicians
/ Occupations
/ Performing arts
/ Political science
/ Popular music
/ Rock music
/ Sociology
/ Sociology: sport & leisure
2012
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Book Chapter
The Government-purposed Genre
2012
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Overview
Thus far, I have focused on documenting musical genre forms in the United States. In this chapter, I expand our view to include music produced in other countries. A preliminary survey of the popular music of countries with widely differing political economies, music cultures, and levels of development revealed that the four genre forms (Avant-garde, Scene-based, Industry-based, and Traditionalist) do exist to greater or lesser degrees across the globe, but there proved to be another widely distributed form that I did not find when I initially examined twentieth-century U.S. musical styles.
In a number of countries, popular genres receive substantial
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