Genre in Music: Constructive Constriction

Genre has been an influential factor in music since before Edison even dreamed of the Blue Amberol. Casual listeners and die-hard music fanatics both describe their musical tastes overwhelmingly in terms of genre (as opposed to instrumentation, skill, or individual performer). For the musician, however, genre is a mixed blessing. He is blessed by its gift of association and yet constricted by its well-defined boundaries as regards the internet, radio, or record store. The effect of genre permeate the music industry and its coverage is almost complete with the exception of select virtuosos and bands with novel marketing and promotion strategies.

For the unknown artist, genre can be a boon. No one can claim knowledge of the complete human catalog of music, so naturally audiences will create useful divisions within that catalog: rock, pop, country, blues, classical. The listener benefits in that he can easily select music within a genre with relative certainty that it will be enjoyable. To correlate, the recording artist has the benefit of what is essentially free promotion- his work falls within a genre that sets his record next to the biggest names in the field, usually in alphabetical order. Through this mutually beneficial relationship, the unknown artist gains exposure while the listener remains confident that their selection will not jar too much on their tastes.

Of course, this same expedience manages to leave behind those whose music is not easily defined by a single genre. After the release of the hit film, "O Brother Where Art Thou," country music radio stations refused to play the undeniably roots-influenced music because it fell too far out of the generic constrictions of their stations. Record labels often times are hesitant to sign quality, talented acts because their style of music crosses over into a genre that the label does not promote. The label is thus unable to sell the CD effectively, as the label's listenership does not match that of the artist.