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

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FORMAN, Murray, The ‘Hood Comes First – Race, Space, and Place in Rap and Hip-Hop, Wesleyan University Press, Middletown, 2002. ESCOTT, Colin, Lost Highway - The True Story of Country Music, Smithsonian Books, Washington DC, 2003. KINGSBURY, Paul, NASH, Alanna (ed.), Country Music – The Complete Visual History, Dorling Kindersley, London, 2006. RIETVELD, Allegonda C., This is Our House - House Music, Cultural Spaces, and Technologies, Ashgate, Aldershot, 1998.

Musical Forest • Little Pine Learners Creating a Musical Forest • Little Pine Learners

McGOWAN, Chris, PESSANHA, Ricardo, The Brazilian Sound – Samba, Bossa Nova, and the Popular Music of Brazil, Temple University Press, Philadelphia, 1998. 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. MADRID, Alejandro L., Nort-Tec Rifa! Electronic Dance Music from Tijuana to the World, Oxford University Press, New York, 2008. 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.] Or, for time signatures with a number eight as their bottom number, a dotted crotchet would represent one beat.

SALEWICZ, Chris, BOOT, Adrian, Reggae Explosion – The Story of Jamaican Music, Virgin, London, 2001. 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.

Musical note tree in Mammoth Music Musical note tree in Mammoth Music

DUPRE, Jeff, CHERMAYEFF, Maro, Soundbreaking – Stories from the Cutting Edge of Recorded Music – Episode 1-8, A Show Of Force Production, 2015. BROUGHTON, Simon, ELLINGHAM, Mark (ed.), World Music vol.2 – Latin & North America, Caribbean, India, Asia and Pacific, Rough Guides, London, 2000. 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.

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QUINN, Steven, Rumble in the Jungle: the Invisible History of Drum ‘n’ Bass, in: Transformations, n°3, 2002. CEPEDA, Raquel (ed.), And It Don’t Stop! – The best American Hip-Hop Journalism of the last 25 Years, Faber and Faber, New York, 2004. 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: STEENSMA, Frans (ed.), Lavrijsen, Annette (ed.), All That Jazz – Het Jazz-Soul-Urban-World-Blues-Singer/Songwriter Boek, Uitgeverij Carrera, Amsterdam, 2009.

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Two crotchets are equal to one minim, and four crotchets are equal to one semibreve (which is why they’re called quarter notes, as they’re a quarter of a whole note). 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. 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.BRADLEY, Laura, Decoding Dubstep: A Rhetorical Investigation of Dubstep’s Development from the Late 1990s to the Early 2010’s, Master’s Thesis, Florida State University, 2013. FABBRI, Franco, A Theory of Musical Genres: Two Applications, in: Popular Music Perspectives, pp.52-81, 1982. FORMAN, Murray, NEAL, Mark Anthony, That’s The Joint! – The Hip-Hop Studies Reader, Routledge, New York, 2012.