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!
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