Wondertoys Wooden Music Tree Rainbow Singing Tree Toys with Marble Ball Run Track Game for Kids Girls and Boys

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For each genre, nine to twelve prime examples of songs are listed. Whenever the genre name lists two or more distinct genres, the examples will be divided among these genres. These examples are not always the most well-known songs of their respective artists or the first within the genre, but rather fitting references for the genre characteristics. Although it is perfectly possible to place the same artist in two different genres, this never occurs on musicmap to allow a greater diversity of artist examples. Songs are deliberately chosen instead of albums or artists, as these rarely can be fitted into one genre category. The main conceptual methods of musicmap to achieve a satisfactory equilibrium consist of grouping closely related genres together (“sibling genres”), color coding much larger genre groups (“super-genres”), and introducing a deeper layer of lesser influential subgenres. Hereby the total amount of the intermediate or main genres could be reduced to 234. This is deliberately far from the possible total amount of genres (approximately 600 or more, some sources claim over 1000) to enable easy orientation and good overview. SHAPIRO, Harry, Waiting for the Man – The Story of Drugs and Popular Music, Helter Skelter Publishing, London, 2003. Musicmap believes that knowledge about music genres is a universal right and should be part of basic education, alongside other forms of art. Because this subject is often not found in school curricula (due to its complexity and a certain disdain for alternative/underground/”low-level” culture), the need for its coverage is high. In contrast to (online) encyclopedia the genre descriptions are less technical/objective and slightly more contextual/subjective, without taking a biased stance. The aim is to evoke interest and to understand the difference between genres, not to describe them independently in an encyclopedic manner. Combined with a large focus on visual design, musicmap hopes to reach more people this way than written literature otherwise could, without losing the essence and accuracy of the content.

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Blueprint of the larger underlying currents or genre families in the history of popular music, forming the different super-genres Straight lines resemble more important evolutions than dotted lines. Double arrows implicate strong mutual influences.]

PERCINO, Gamaliel, KLIMEK, Peter, THURNER, Stefan, Instrumentational Complexity of Music Genres and why Simplicity Sells, in: PLOS DOI:10.1371/nr.0115255, December 2014. Despite popular belief, music genres are not categories. The sum of all popular music is far larger than the sum of all popular music genres. It is also of little importance to know of each and every song or album to which genre it belongs. Integral classification (whether automatic-algorithmically as mentioned before or manually-peer reviewed) however, is not impossible provided that dynamic tagging (meaning one song can belong to different genres at the same time) is carefully implemented. Nevertheless, the concept of music genres itself serves as a vital instrument of communication: a language. What records do I seek or what music is played at that location? Obviously, it is of great importance that everyone speaks the same language. Otherwise genres are only prejudicial instead of beneficial. The general debate about genres is often polarized, with lovers (creating countless subgenres) or haters (who believe that genres are completely meaningless). Musicmap tries to promote a nuanced middle ground based on common sense and historical / social reality. You might also see it referred to as a rhythm tree or a note pyramid, but these are all the same thing. The name for a genre is often coined by a music journalist as an attempt to summarize underlying currents in past events, sometimes many years after the date of origin when the boundaries of the common denominator characteristics have finally become clear. The urge to do so in a concentrative manner (a noun or genre name) can lead to unfortunate results, i.e. something “new” or “progressive” in the eighties can hardly sustain this feat in present times. In other occasions, artists themselves come up with a name to describe their style, often compared to already existing genres. Another possible origin is by mixing records from two different genres, either consecutively or simultaneously. When the crowd starts to welcome these mixes, new records get made to approximate this combination and a new genre becomes born. More often than not, genre names are poorly chosen and reveal little information about the true nature of the genre. There is however no debate about which genre is which: once denounced, the genre name stays infinitely.

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McLEOD, Kembrew, Genres, Subgenres, Sub-subgenres and More: Musical and Social Differentiation Within Electronic/Dance Music Communities, in: Journal of Popular Music Studies, 13, pp. 59-75, 2001. POTASH, Chris, Reggae, Rasta, Revolution – Jamaican Music from Ska to Dub, Schirmer Books, New York, 1997.The correct determination of the different super-genres is very important, but much less difficult than determining the correct number of genres. The same super-genres return in various lists, summaries, other genealogies, literature, although sometimes with other names or a slightly different combination of genres. The boundaries of these super-genres are not rigid, after all. Just like smaller, regular genres, super-genres should be considered as fluid concentrations in the musical universe, fading over into each other. Musicmap is a first-phase experiment to achieve near perfect overview of all popular music genres. This process is never-ending, always incomplete, and requires further input from the international community. The current version (1.0) provides a starting platform that should already cover a great deal of the following main goals: OH, Ingyu, LEE, Hyo-Jung, Mass Media Technologies and Popular Music Genres: K-Pop and YouTube, in Korea Journal vol.53/nr.4, pp.34-58, 2013.