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Genre in detail

When contrasting to the study of genre in the format of literature and film,
where genre is fiction or film its often seen as the opposite of artistic
attempt, within the study of popular music generic structures are seen as
framework against which, and within which creativity and originality take
shape and are defined.
Genres of popular music are quite straight forward and easy to define for
yourselves. Fans, musicians and academics can have many different
reasons for debating genre and therefore may use very different criteria
for deciding which genre piece of music belongs to. When looking through
music industries and retailers into the mix, we are shown a range of
genres that vary from the very broadly defined to the very narrowly
defined.
For example, hip hop is a genre that HMV, a music retailer, is a subcategory of urban/dance music. Therefore contrasting this, some blogs
describes only a few genres whereas Wikipedia lists more than seventy
sub-genres and music styles resulting from hip hop.
The music of any artist can be described under many of labels depending
who is doing the labelling of companies. In the environment of popular
music, genre is understood as quantities of texts defined by shared
musical properties, but also as sets of codes and conventions that govern
the actions and behaviour of musicians, fans, audience and musical
communities too.
Genre that emerges from this account is variously untidy and unstable.
Whereas, some seems to offer a relatively direct way of grouping together
similar texts based on common properties. Other than that, its
manifestation as a boundary phenomenon, a method of settling
subcultural or logical boundary disputes. This means that it is always in
some sense random and open to co-operation and revision. Putting this to
one side, genre is remains a useful way of discussing products which are
cultural and also artefacts.
We have to make an approach to pursue below to identify and discuss four
principle that are generic configurations of a music video, these are
categories such as: pseudo-documentary; art music video; narrative and
also staged performance. However, managing and organising many
videos, usually they would like to stress from the outset that both this
process of categorisation and the categories themselves are not intended
as reductive or infinite entities. We argue that genre operates in complex
ways in relation to music videos. Defining genres of music is not a
straightforward task in itself, individual genres of music video dont map
onto music genres in a straightforward fashion however these are only to
the genres that grow out of formal, stylistic and aesthetic evidence.

Music videos cut across genres of music and they attempt to discuss that
rap and rock videos are at best reductive and at worst intensely faulty.
Some music genres may privilege a type of video, any given music video
may have, and often does have, far more in common with a video which
promotes a song from another genre than with others of its own. Their
intention is to not only point out the limitations of work which directly
address the various generic formations that characteristics music video
and the complex ways in which they interact with genres of music.
Little work is existed when it comes to attempting to use genre as a way
of understanding music video. It is surprising that as generic analysis of
other forms of popular culture has played centre role of understanding
formal and stylistic properties also economics functions. The pleasures
they afford their audience is also an understanding of this statement. The
study of film and television would be unthinkable without these features.
It is entirely predictable when it comes to genre-based work in music
videos and it is predictable for many reasons. Academic criticism of music
video has been included within accounts of MTV or the accounts of MTV
which then stresses its postmodern formal and aesthetic properties.
MTV is often too easily simply mapped music video itself, and on here
near enough all videos become classed as a postmodern forms of visual
culture on the basis of only appearing on MTV. This way of understanding
music video works to divert attention away from analysis of the videos
themselves rooting it instead in the fragmented structure of MTV and its
self-reflexive, ironic strategies.
Many people stress over the difference between music television and
music video, for example Andrew Goodwin, who is a music critic, stress
over how different they actually are however they only discuss music
videos in the context of MTV. General level the term music video has a
generic label in its own right so in other words the formal properties of the
music videos short films which feature a song within the background
they design to promote are mobilised as generic markers to differentiate
it from both other kinds of video. This is predicted on the interdependence
of music video and music television. Perhaps idea which describes the
situation at the time when most of this work was written but which
certainly does not adequately account for present moment.
It is no longer necessarily or useful to associate music video with MTV. The
situation where a single music channel or a music videos interspersed.
The conditions governing access to the music video or not to watch MTV
however a better choice has to be made of which video to access, when to
watch it and what platform it is shown on.