Hostname: page-component-586b7cd67f-dlnhk Total loading time: 0 Render date: 2024-11-27T22:15:31.649Z Has data issue: false hasContentIssue false
  • English
  • Français

Cross-genre Hybridity in Composition: A systematic method

Published online by Cambridge University Press:  03 March 2016

Jeremy Mayall
Jeremy Mayall*
Affiliation:
University of Waikato Conservatorium of Music, Hamilton, New Zealand
*
Email: [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

This article serves as an introduction to the ‘hybridity table’, which is a systematic compositional tool designed to aid in the creation of balanced cross-genre hybrid music. The hybridity table was developed as part of my doctoral research, and has been utilised in my ongoing creative practice-based research. The article will, in a broad sense, discuss the terms ‘genre’ and ‘hybridity’, drawing from the current literature, and will attempt to clarify how an understanding of these terms was utilised in the development of the hybridity table. Also included is a brief example of the table used in the composition of a short piece – Tracking Forward – as well as a discussion of key considerations for composing hybrid music using this table. Through outlining this new compositional tool it is hoped that this method might be utilised by other composers in their own creation of balanced cross-genre hybrid music.

Type
Articles
Information
Organised Sound , Volume 21 , Special Issue 1: Style and Genre in Electroacoustic Music , April 2016 , pp. 30 - 39
Copyright
© Cambridge University Press 2016 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Benson, B. E. 2003. The Improvisation of Musical Dialogue: A Phenomenology of Music. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Brackett, D. 2002. (In Search of) Musical Meaning: Genres, Categories and Crossover. In D. Hesmondhalgh and K. Negus (eds.) Popular Music Studies. London: Arnold.Google Scholar
Burkholder, J. P. 1994. The Uses of Existing Music: Musical Borrowing as a Field. Notes 50(3): 851–870.CrossRefGoogle Scholar
Clague, M. 2013. Grove Dictionary of American Music Entry. Michael Daugherty. www.michaeldaugherty.net/index.cfm?pagename=bio (accessed 6 December 2013).Google Scholar
Emmerson, S. 2007. Where Next? New Music, New Musicology. EMS: Electroacoustic Music Studies Network. www.ems-network.org/IMG/pdf_EmmersonEMS07.pdf (accessed 19 July 2010).Google Scholar
Ennis, P. H. 1992. The Seventh Stream: The Emergence of Rocknroll in American Popular Music. Hanover and London: Wesleyan University Press.Google Scholar
Fabbri, F. 1981. A Theory of Musical Genres: Two Applications. Popular Music Perspectives: First International Conference on Popular Music Studies. Amsterdam, June 1980.Google Scholar
Fornäs, J. 1995. The Future of Rock: Discourses That Struggle to Define a Genre. Popular Music 14(1): 111–125.CrossRefGoogle Scholar
Kallberg, J. 1988. The Rhetoric of Genre: Chopin’s Nocturne in G Minor. 19 th Century Music 11(3): 238–261.CrossRefGoogle Scholar
Lena, J. C. and Peterson, R. A. 2008. Classification as Culture: Types and Trajectories of Music Genres. American Sociological Review 73(5): 697–718.CrossRefGoogle Scholar
McLeod, K. 2001. Genres, Subgenres, Sub-Subgenres and More: Musical and Social Differentiation Within Electronic/Dance Music Communities. Journal of Popular Music Studies 13(1): 59–75.CrossRefGoogle Scholar
Mayall, J. 2015. Portfolio of Compositions: Systematic Composition of Cross-genre Hybrid Music. PhD thesis, Waikato University.Google Scholar
Metzer, D. 2003. Quotation and Cultural Meaning in Twentieth-century Music. Cambridge: Cambridge University Press.Google Scholar
Moore, A. F. 2001. Categorical Conventions in Music Discourse: Style and Genre. Music and Letters 82: 432–442.CrossRefGoogle Scholar
Negus, Keith. 1999. Music Genres and Corporate Cultures. London and New York: Routledge.Google Scholar
Neill, B. 2002. Pleasure Beats: Rhythm and the Aesthetics of Current Electronic Music. Leonardo Music Journal 12: 3–6. http://muse.jhu.edu/ (accessed: 21 January 2011).CrossRefGoogle Scholar
Pareyon, G. 2011. On Musical Self-Similarity: Intersemiosis as Synecdoche and Analogy. Imatra, Finland: International Semiotics Institute.Google Scholar
Pascall, R. 1989. Genre and the Finale of Brahms’s Fourth Symphony. Music Analysis 8(3): 233–245.CrossRefGoogle Scholar
Samson, J. 1989. Chopin and Genre. Music Analysis 8(3): 213–231.CrossRefGoogle Scholar
Wales, K. 1989. A Dictionary of Stylistics. London: Longman.Google Scholar
Webb, J. 1992. Schnittke in Context. Tempo 182: 19–22.CrossRefGoogle Scholar
Williams, J. A. 2011. Jazz/Hip-Hop Hybridities and the Recording Studio. Journal on the Art of Record Production 5: n.p. http://arpjournal.com/1177/jazzhip-hop-hybridities-and-the-recording-studio/ (accessed 13 November 2013).Google Scholar