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×
musicmap

INTRODUCTION

SYNOPSIS - WHAT IS MUSICMAP?

Musicmap attempts to provide the ultimate genealogy of popular music genres,
including their relations and history. It is the result of more than seven years
of research with over 200 listed sources and cross examination of many other
visual genealogies. Its aim is to focus on the delicate balance between
comprehensibility, accuracy and accessibility. In other words: the ideal
genealogy is not only complete and correct, but also easy to understand despite
its complexity. This is a utopian balance that can never be achieved but only
approached. By choosing the right amount of genres, determining forms of
hierarchy and analogy and ordering everything in a logical but authentic manner,
a satisfactory balance can be obtained. Said balance is always the main subject
of discussion in music genre genealogies and the capital reason why an absolute
visual reference has been absent thus far (and probably always will be).
Musicmap is a platform in search for the perfect balance of popular music genres
to provide a powerful tool for educational means or a complementary framework in
the field of music metadata and automatic taxonomy.

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.

Special attention was given to inter-categorical relationships, with a different
style for primary links (parent genres), secondary links (other influences) and
anti-links (backlashes) to make the chart more accurate. Horizontal timelines
provide clear information about which year each genre emerged, although for most
genres this is disputable, which is why the timelines are faded in the
background and surplus information is added in separate genre descriptions.
These descriptions provide the subtleties that cannot be made visually clear in
order to completely understand the sociological, semantic and technical context
of their respective genres. Out of respect for the power of music and to
increase readability, all genre names are capitalized.

Musicmap combines the advantages of large mega genealogies (>500 genres) with
those of synoptic overviews (<50 genres) by working with different levels of
detail on its visual genealogy, referred to as the “Carta”. The upper level
displays only the super-genres. The lower level forms the principal subject of
the aforementioned balance, where the main genres are listed.

PURPOSE - WHAT IS IT FOR?

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:

1. To inform anyone, regardless of age and education, about the basic knowledge
of music genres.

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.

2. To inspire people to explore the world of music, and discover music outside
of their comfort zone.

Thanks to a tremendous amount of links and a deliberate compact placement of
music genres, people are motivated to track down other genres within areas
they would normally not look. With only a minimal degree of separation, all
music genres can eventually be linked to each other. Each genre features a
playlist of at least nine example songs from nine different artists,
facilitating music exploration. Over the course of time these lists can
either be extended or even replaced by community-generated playlists.

3. To improve existing music genre databases and to provide a complementary and
necessary framework for automatic music taxonomy.

Numerous international companies and academic researchers are currently
looking for ways to analyze music databases and implement metadata in order
to bring structure to these enormous archives. With the ever growing
capacity of electronic music delivery (EMD) systems such as iTunes, Spotify,
Soundcloud, Shazam, Tical, Beatport, Google Play, etc., the need increases
for an algorithm-based architecture where automatic taxonomy becomes
unavoidable and often preferred based on genre. Researchers try to develop
adequate algorithms that analyze any given audio signal, break it down into
its various components, and process a singular outcome: a tag in the form of
genre. However, these components need to be checked against a legitimate
backbone structure: a complementary framework of music genres like musicmap.
Many well-known music websites, players, apps, catalogues, and databases
already use a predetermined categorization of music genres. Unfortunately,
these categorizations are often imbalanced and inaccurate, with very large
genres and obscure subgenres nested on the same level, or even mentioning of
two genres that are actually the same. The primary contributor of this
imbalance is the translation of an organic, dynamic and sociocultural
reality (genres) into a structured, static and mathematical artificiality
(hierarchical categories). Musicmap believes that a top-down, hierarchical
structure is not impossible and likes to improve on these structures,
provided that certain cautions are met to prevent pigeonholing (see more on
the Theory page and at #5).

4. To initiate a dialogue or start a platform (WIKI) in order to achieve a
near-perfect and up-to-date overview

This overview can then be used in connection with databases (playlists) in
the form of mobile apps, car apps, hi-fi media stations, and other
multimedia to find and explore music. Implementation of this should be used
with extreme caution as genre categorization of artists and albums is a
gross oversimplification of the truth, and a diminishing of artistic
expression. Musicmap is meant for exploring and discovering hard-to-find
music by providing basic cornerstones (genres) as orientation points in an
otherwise vast and incomprehensible musical universe. One must look at the
collection of all popular music as a vast ocean in which drowning is easily
possible without the rescue of a safety net: a music genre that provides a
way of orientation. Where am I in the world of music and where do I want to
go?

5. To motivate the use of genres while discouraging pigeonholing

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.

6. To reduce discrimination and prejudice based on genre

Disdain for certain music genres is often based on ignorance. There are so
many links in the world of popular music that even the most outlying genres
have become kin and precarious to separate. Though the internal differences
might be great, each and every genre teaches us something about music
history and popular sociology that is worth knowing. Even the borders
between popular music and other music worlds (e.g. folk, world) are often
targeted for criticism and difficult to uphold, meaning that the internal
connections are more abundant and stronger than one might believe.

COMPASS - HOW TO USE THE CARTA?

The Carta is like a real world map, only the vertical axis represents time
(top=past, bottom=future) and the horizontal axis represents the corresponding
super-genre. To navigate, simply drag the map where you want to go or zoom in
and out. Like a real world map, musicmap is a spherical projection, which
implies that the left side crosses over to the right side.

When zoomed out, only the super-genres will appear and the main genres and their
relationships are hidden. There are even more genre names than visible on the
Carta, but these are often subject to debate, too similar to already existing
genres, meaningless umbrella terms, or simply very small and obscure, quickly
leading to over-classification.

If you lose track of date, you can easily check your chronologic context without
zooming out by hovering over a thicker horizontal line, which represents the
start of a new decade. This will show you the starting year of the corresponding
decade. Thinner horizontal lines are placed biannually.

Hovering over a genre of interest will highlight all relations from and towards
that genre (influences and derivatives) to easily track remote links. Some
genres are marked with a small family tree symbol, indicating that there are
several substantial subgenres in which the genre further can be divided, or that
the genre itself is in fact a combination of several subgenres. Some genres are
marked with an asterisk, indicating that they belong to two different
super-genres which are not located next to each other.

Two or more genres can be located so close to each other that they morph into a
continuous zone (very similar genres or “sibling genres”). Sibling genres often
share great areas of overlapping, making it hard to separate them. While
strictly speaking being different genres, they are mentioned on the Carta as a
single entity (using “&”). This as opposed to synonymous genres or genres with
negligible differences, where “/” is used instead.

EARLY FUNK & P-FUNK primary origin secondary origin multiple influences (only
the most important are shown) INTELLIGENT TECHNO / IDM contains subgenres
anti-influence / counterreaction multiple origins (only the most important are
shown) interrupted line (crosses over to other side) A A hybrid genre (also
belongs to non-adjacent supergenre) * * [example of two different genres as
shown on the Carta, with explanation of possible links. Notice the use of “/”,
indicating synonyms and “&”, indicating a combination of two (or more) different
but closely related genres into a sibling genre group.]

When you click on any main music genre, a specific genre panel will pop up, with
much additional information as shown on the picture below. To collapse the
panel, simply click the minimize button on the left side of the panel. These
panels can be customized in the future to implement additional features or
external links.

1986 (alternative) | POP INDIE POP (TWEE) College communities in the US had a
sustained culture of amateur Singer/Songwriter during the seventies and
eighties. In 1979, a third lesser known wave of Folk Rock emerged in the
southern states and mixes with related Country Rock. This wave, known as College
Pop, becomes more poppy, lo-fi PLAYLIST TITLE BAR WITH GENRE NAME YEAR OF ORIGIN
SUPER-GENRE TAG DESCRIPTION TEXT PLAYLIST WITH EXAMPLE SONGS CONNECTIVITY BAR
MINIMIZE BUTTON

Each genre panel consists of the following elements, from top to bottom:

1. TITLE BAR WITH GENRE NAME

The most common name is being used as title with sometimes an alias. Lesser
used synonyms are listed in the description, as well as common subgenres.
The order of / and & is important, for instance “Ska-Punk / Two-Tone, &
Ska-Core”, implies that Ska-Punk and Two-Tone are (more or less) synonymous
whereas Ska-Core is something else (though closely related).

2. YEAR OF ORIGIN

The exact year of origin is very disputable or sometimes even uncertain.
Musicmap tries to ignore singular avant-garde pioneers and lists the year
that at least two or more different artists release work within the genre.
As a general rule of thumb, the listed year of origin comes after the very
first experimentations shaping the genre and before the genre becomes known
to the general public. When the genre name mentions two distinct genres with
proximate but different years of origin, the point in between is taken. When
the situation is more complex (proto-phases, timespans, different waves),
more accurate information can be found in the description. When you click on
the date, the Carta will take you to the genre’s location.

3. SUPER-GENRE TAG

This mentions the parent super-genre. Certain genres might belong to two
different super-genres (hybrid genre). When one super-genre is strongly
favored over the other, the latter will be written in lowercase and between
parentheses, though it still would be acceptable to regard this one as a
parent genre. This is referred to as a “slave super-genre” (lowercase) as
opposed to “master super-genres” (caps). The order is of no importance. Only
master super-genres are taken into account for the genre lists of each
super-genre.

4. DESCRIPTION TEXT

The description focuses briefly on the historical and sociological context.
Furthermore, it tries to list the characteristics of the genre without
becoming too technical. The whole aim of the description is to explain each
genre in a manner anyone can understand and to pinpoint the necessary
nuances such as temporal framework and the influences of following genres in
later phases (which cannot be made visually clear on the Carta). Related
subgenres are listed when applicable. Keywords are written in bold, as an
attempt to reach the very essence of the genre.

5. PLAYLIST WITH EXAMPLE SONGS

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.

6. CONNECTIVITY BAR

Functionality bar with links, functions, and possible future
implementations.

ABSTRACT

RESEARCH BOUNDARIES

To begin our journey through the world of popular music, we must first answer
the question: “What exactly defines popular music?” Despite popular belief that
this is a highly subjective matter, a broad consensus has been reached of its
definition. Etymologically speaking, “music of the people (=populos)”, would not
make us much wiser. The encyclopedic definition (Encyclopædia Britannica)
states: “any commercially oriented music principally intended to be received and
appreciated by a wide audience, generally in literate, technologically advanced
societies dominated by urban culture.” Meaning that the right way to interpret
the term, is music which finds the most appeal of all large music groups, due to
its commercial nature. Indeed, there is in fact quite a large gap in record
sales, concerts, downloads, and popularity in general between the group of
popular music and so-called non-popular music. But this is not the only
important part of the definition: popular music thrives in western and urban
cultures due to the simple fact that these people have the financial and social
means (social security, networking) to start music careers. These means can also
be used for marketing and publicity, further widening the gap with other,
non-popular music. The smaller appeal of non-popular music can also be explained
by its older age; popular music consists mostly of (relatively) young and new
music genres, sparking more interest than the ones who have been around for
centuries.

Non-popular music can be divided into four groups; four vast worlds with a rich
history of their own: Classical Music, Folk Music, World Music, and Utility
Music. Popular Music is the fifth, and arguably the largest of all music worlds.
Although many parts of this fifth world are well documented and its (oral)
history is often told in literature and documentaries, a structural analysis of
the whole is – due to its complexity – lacking, especially compared to the other
worlds.

CLASSICAL MUSIC FOLK MUSIC WORLD MUSIC POPULAR MUSIC WORLD POP: world genres
with significant popularity or pop crossovers with world music WORLD FOLK:
contemporary folk genres / world genres rooted in folk genres UTILITY MUSIC
CLASSICAL UTILITY MUSIC: classical film soundtracks / classical background music
or muzak [The musical universe, with popular music as the largest yet not the
oldest of its different worlds]

The other music worlds are not studied and analyzed in musicmap, as their music
genres do not apply as popular music. This includes all kinds of orchestra
music, chamber music, experimental classical music, historic and contemporary
folk music, a gargantuan amount of world music genres, and all kinds of utility
music: marches, military music, fanfare music, background film scores,
amusement, musicals, vaudeville, and so on. Take note: these music worlds are
visualized in a different order on the Carta than shown here to avoid too
elaborate connection paths and too much visual clutter.

Sometimes certain types of world music get influenced by Rock/Pop/Dance music
and crossover to World-Pop. It happens that these genres gain a large
international appeal, especially when featured in films. However, these genres
are also excluded from the Musicmap, as they have too many relationships (links)
with other (read: non-popular) world music, and little influence on regular
popular music. Certain crossovers between Folk and Popular music however (such
as Folk Rock), are included, due to significant influence on other popular music
genres.

It can be argued that the difference between World and Folk music is
challenging, harboring a fair amount of overlapping. In essence, World music is
contemporary music performed and created all around the world, but falling just
short in influence to become popular music, for example RaÏ, Afrobeat and
Highlife. However, these world music genres are often evolutions of much older
geographically linked Folk music. In other words: World music is often the
contemporary evolution of historical Folk music.

THE DEFINITION OF GENRE

The history of Popular Music hardly qualifies as an exact science. It is a
retrospective analysis of events that focuses on the underlying forces or common
symptoms in the overwhelming production of music records, ignoring nuances and
side-effects to grasp a comprehensible structure. This is because (popular)
music is far from a static phenomenon: it is a constantly evolving,
transforming, giant organism. Almost never has a music genre suddenly emerged as
a shocking revolution without any trace or evolution in the past. All of them
have naturally evolved, mutated, merged, or become (theoretically) extinct. Only
the past can be examined of this natural, organic network.

Herein one often finds network nodes or concentrations of artists having
multiple traits in common and thus forming a genre. More correctly speaking:
certain albums or a collection of songs by different artists, since the majority
of music artists cannot be classified within the constraints of a single genre.
Many artists attempt to create a unique and distinctive sound, crossing over
into near and distant genres, while also evolving in sound during the course of
their albums. This is why in case-specific literature, the same artist can be a
given example for different genres; which means that often artists are located
on the connection between two (or more) nodes instead of right on the node
(genre) itself.

The traits that define a genre are more than a similar sound or summary of
technical elements; subculture, fashion, geography, mentality and period of time
all qualify as possible trademarks of which a genre in retrospect might be
recognized. In other words, music genres can be seen as a concentration in the
musical network, as the common denominator of a large enough group of music (not
necessarily artists) connected by a specific instrumentation, technique,
mentality/ideology, sound, place and/or time. By taking only the most important
concentrations into account, a two-dimensional, comprehensible genealogy can be
created. Genre definitions must be regarded independently of language. Changing
the language of the vocals does not create something new (which is why e.g.
French Rap is not listed as a genre), though geographical differences might
influence the constraints of the genre.

The amount of popular music genres is staggering, reaching easily over 600. Many
genres however, can either be seen as a subgenre of a larger genre or as very
similar to another one (sibling genres). Metaphorically speaking, these genres
are either smaller nodes connected to bigger network nodes or they are nodes
located in high proximity to other nodes. There is no objective way to determine
the true amount of genres. Musicmap is not the result of a parametrically based
algorithm. The amount and selection of mentioned genres are determined on their
importance and uniqueness by academic research. They are carefully selected by
comparing as many genealogies as possible and examining their context and
relevance in literature. There is no mathematical threshold involved to identify
a genre, certainly not in the amount of practicing artists (which would also be
a flawed approach for aforementioned reasons). Some genres can be extremely
small (e.g. Old Skool Rap, Gothic Rock, Grunge, Musique Concrète) yet form an
important link and source of inspiration for other genres. Other genres can be
huge, yet their offshoots or subgenres vary too little to become a separately
mentioned genre (e.g. Disco, Singer/Songwriter, Death Metal, Psytrance).

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.

Because of the large focus on retrospective analysis, it is important to take
all music genres from 2010 until now with a grain of salt, because their
definitions are still forming. The ink is still wet; there is no telling where
it might run.

Musicmap does not display any end time of music genres, only the (approximate)
year of origin. A music genre after all, cannot die. It is never impossible to
recreate a specific genre, even though the sociologic circumstances have been
changed. Sometimes a return to one particular genre of the past happens on a
larger scale, with updated equipment, sound and small alterations: a revival.
Revivals form a big part of popular music in the last two decades, marking a
possible saturation point of styles, and the perfect starting point for a
summary of popular music genres thus far.

Last but not least; genres can never succeed in describing music correctly. Just
like any language is inadequate to express emotions, so are genres imperfect
tools to describe music. Yet, they are still far better than nothing, and very
useful when mastered.

METHODOLOGY

SUPER-GENRES: A FRAMEWORK FOR A COMPLEX DATABASE

More than 230 music genres is still too abundant to create a comprehensible
structure that allows easy orientation. The need for a covering framework is an
issue that will be addressed in this chapter. Certain (though few) visual
genealogies choose not to implement such framework, and do not (or vaguely)
display clusters of related music genres. When dealing with rather detailed
genealogies such as musicmap, omitting a visual framework would seriously harm
any practical use the map might have. Fortunately, this framework already exists
as almost all genres belong to greater, well-known “areas” in the musical
network, what we will call super-genres. Super-genres are simply the parent
genre of any given genre; a higher-level, overarching family.

A number of super-genres are so large that they might be divided into smaller
groups, roughly the size of other super-genres. We will call these the primary
genre clusters, represented by the primary colors: Blue Note (blue), Rock
(yellow), and Electronic Dance Music (EDM) or Dance (red). For Blue Note (Blues,
Jazz, & Gospel/Pioneers) the clustering is debatable, as the difference between
its super-genres is much larger than within Rock and Dance. However, there are
plenty of common characteristics to unite these super-genres as one family:
period and country of origin, the use of “blue guitar notes”, instrument set-up,
and a strong mutual influence. Rock music already forms a strong family, of
which the subdivision instead of the clustering is debatable. Some Rock
super-genres are already well-defined (Hardcore, Alternative, Classic or Golden
Age Rock). The other Rock super-genres become transparent as the remaining
periods of time, either before or after previously mentioned super-genres. For
the last genre cluster, EDM/Dance, there is hardly any debate: these
super-genres both form a strongly connected family while they are also clearly
separate entities with their own identity and subculture. Lately, the term EDM
has received a new and narrower meaning as mainstream-friendly dance music,
which has provoked aversion for the term. But it is recommended to maintain
EDM’s original definition, which is exactly what it stands for.

gospel & pioneers trance house techno hard- core drum ‘n’ bass break- beat
jamaican rap industrial metal country rhythm ‘n’ blues pop down- tempo blues
jazz rock ‘n’ roll golden age punk / wave alt / indie hard- core contemporary
ROCK DANCE / EDM BLUE NOTE folk music amusement music electro-acoustic sound
world music classical music religious music CLASSICAL UTILITY MUSIC: classical
film soundtracks / classical background music or muzak [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.]

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.

It is very plausible that UK Garage & UK Bass will rip itself loose as an
immortal and distinct super-genre in time, just like Metal did from Rock. It is
however too loose momentarily and a little bit too soon to tell. It is still
possible that it will fade out with remnants dispersing back into Breakbeat,
Drum ‘n’ Bass or other super-genres. If not, UK Garage should seriously be
considered as the 24th super-genre, depending on future evolutions and how its
interaction with contemporary Hip-Hop music (Trap, Ghettotech, Wonky) will turn
out. And with Future Bass being more eclectic than anything else, it is hard to
predict what that future will hold. For now, these genres will be placed between
Breakbeat and Drum ‘n’ Bass, which is where they originated.

STRUCTURING METHODS

There are two ways of structuring the popular music network (combining the
various super-genres and genres and presenting them in a graphical manner):
top-down or bottom-up method.

The bottom-up method starts from the determined amount of music genres and
places them in a two-dimensional space. Their coordinates are based on the
genre-defining characteristics and thus similar genres are located close to each
other. Once again, parametrically based programming to create this chart is nigh
impossible as the characteristics (parameters) are too broad, not entirely
measurable, and even variable in importance (weight). The benefit from this
method is that super-genres will eventually emerge as amorphous zones,
overlapping and connecting other super-genres at various points. This is a more
realistic visualization of the musical genre network, though still limited by
two-dimensional constraints.

The top-down method starts by laying out the super-genres, usually in a
chronologic order. This creates a two-dimensional space where the horizontal
axis determines the super-genre and the vertical axis determines the time. The
result is a rigid structure with adjacent super-genres in which each genre is
placed on a point (or collection of points) that automatically dictates the
corresponding super-genre and year of origin.

TOP DOWN VISUALISATION BOTTOM UP VISUALISATION [top-down method and rigid
structure (left) versus bottom-up method and amorphous structure (right)]

The Musicmap is based on the top-down method instead of the bottom-up for
various reasons.

Firstly, a true bottom-up method creates an amorphous structure in which
chronological order is impossible, unless shaping the form as such, in which
case it actually becomes rigid. Chronological order is important, not only to
create a better overview and faster navigation, but also to witness the deviant
phenomena: At which point (of time) are there booming events? When does a
super-genre cease to perpetuate new styles? And so on.

Secondly, the bottom-up method is rather theoretical when it comes to music
genres. At one point or another one will always rely on top-down to check the
comprehensiveness: are all types of Jazz included? How many genres in Techno are
there? Mainly because literature that covers all popular music at once is very,
very scarce. Academic literature comes mostly in the form of specialization into
one or a few super-genres, thus favoring the top-down method.

Thirdly, a rigid structure allows expansion in the vertical axis. This means it
can be updated with new genres and adapted to accommodate future genres, hereby
greatly increasing flexibility and sustainability. A rigid structure can also
easily expand in the horizontal direction, meaning that super-genres can be made
broader if need be (to allow corrections, subdivisions and so on). An amorphous
structure will enclose certain super-genres, preventing expansion in the future,
or correcting if needed.

An amorphous structure is better at creating shorter network connections, where
all the genres have more strategic positions and the relations between genres
becomes more transparent. On top of that, an amorphous structure is also
possible of correctly placing hybrid genres: genres that belong to two or more
different super-genres. In a rigid structure, these can be serious handicaps,
preventing accurate placement of such genres and hindering an accurate amount of
links or relationships between genres. Fortunately, there are ways to work
around these obstacles and minimalize their negative impact. Placement on the
horizontal axis of super-genres is very critical as the most related
super-genres should appear next to each other, allowing as many hybrid genres as
possible to be correctly placed. By creating a circular plane, thus connecting
the outermost left and right super-genres, more hybrid genres can be placed and
shorter connections can be drawn. Hybrid genres belonging to non-adjacent
super-genres are placed in either their dominant super-genre or one that makes
the most sense, but both their super-genres are mentioned as tags in the
description. This is a flaw of the Carta, but a small one that still allows the
many advantages of a rigid structure.

Finally, a rigid structure allows implementing in existing music databases,
although this must be approached with caution. It provides the possibility of
transferring its categories (super-genres, and then genres) to a hierarchical
database.

EXPANDING ON VISUALIZATIONS AND HYPOTHESES

In this chapter we will discuss possible hypotheses surrounding music genres and
their classification, and certain deductions that can be made from the visual
concept of the carta. All these theories are conceived for entertaining and
philosophical purposes, and definitely not to prove a certain point. If
anything, they are supposed to be the subject of discussion, rather than the
outcome.

1. THE MUSIC GLOBE

The concept of a rigid, two-dimensional Carta, but connected on the sides by
bending the plane to a cylindrical form, leads to other interesting
projections and visualizations. Because there are so few genres in the
beginning of time (19th century, early 20th century), and the amount of new
genres has dramatically decreased in the last two decades, it’s only a small
step away of looking at the Carta as a real projection of a sphere, thus
seeing the world of popular music as a three-dimensional, planet-like
structure: the Music Globe. On this globe, the “north pole” represents the
origin of all genres (the past), where the “south pole” represents the
(theoretical) endpoint (the future). The equator is right in between, at the
point in time where the most different genres emerged, around the 80s or
90s.

2. CONVERGENCE AND DIVERGENCE OF GENRES

By beholding a globe, we can also make projections of the two poles that
strikingly capture two different concepts: divergence and convergence. The
“north pole” represents the point in time from which all genres originated.
This is a gross oversimplification of the truth, ignoring the influence of
Folk, Classical, Military music and so on. However, with the exception of
Musique Concrète and its Downtempo super-genre, all popular music genres can
be traced back to Spirituals and Worksongs. Like in certain other music
genealogies, all genres diverge from a single point of origin, spreading
wider and wider while time passes. The “south pole” represents the future
and the endpoint of music styles. This means two things: first, new genres
will cease to emerge due to a total saturation of music genres. At this
point, all popular revivals and successful crossovers have been invented and
a lack of new music instruments inhibits the creation of a new super-genre.
Secondly, all super-genres have grown closer and closer to each other due to
an increase in globalization, (social) networking, and multimedia usage.
This culminates in a hypothetical hyper-eclectic “monster-genre” that draws
influences from any other genre, until it becomes a mass-produced
jack-of-all-trades that is so generic that it might well not exist at all.

3. GENRE TRIANGLE OR CIRCLE

Connection of the super-genres on the horizontal axis, enables a visual
juxtaposition in the form of a triangle or circle. The concept of a circle
obviously emphasizes the continuation, and is simply an alternative design
that might be used to create an entire genealogy, though without the concept
of time (unless divergent for each super-genre with concentric timelines).
The triangle emphasizes the three primary music clusters, while the other
super-genres are intermediates. This is a radical hypothesis that indicates
that the clusters are superior to other super-genres. It also implies that
the other super-genres (the ones in between) can be seen as fusion genres of
these clusters, with the exception of Pop and Downtempo.

4. FLOATING CONTINENTS

A final visualization, expanding on the theme of a world map, is the concept
of super-genres as floating continents. This concept catches the dynamic
boundaries of the super-genres. Even things from the past (the northern part
of the continents) that are supposed to be fixed, can shift in the light of
new genre definitions and classifications. This is an important phenomenon
in the world of music genre theory. It has happened before that genre
definitions change and old categories make place for new ones after thorough
research or appearance of new genres (for example Jazz and the early
Hardcore/House/Techno explosion have witnessed such transformation). These
continents can either drift further away from each other, or bump into each
other.

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SUPER-GENRES

×
* INDUSTRIAL & GOTHIC
* (HEAVY) METAL
* ROCK: ROCK 'N' ROLL (R'N'R)
* ROCK: GOLDEN AGE
* ROCK: PUNK (ROCK) / (NEW) WAVE
* ROCK: HARDCORE (PUNK)
* ROCK: ALTERNATIVE / INDIE (ROCK)
* ROCK: CONTEMPORARY (ROCK)
* POP (MUSIC)
* COUNTRY
* RHYTHM 'N' BLUES (R&B)
* BLUE NOTE: GOSPEL & PIONEERS
* BLUE NOTE: BLUES
* BLUE NOTE: JAZZ
* JAMAICAN (MUSIC) / REGGAE
* RAP / HIP-HOP MUSIC
* EDM / DANCE: BREAKBEAT
* EDM / DANCE: DRUM 'N' BASS / JUNGLE
* EDM / DANCE: HARDCORE (TECHNO)
* EDM / DANCE: TECHNO
* EDM / DANCE: HOUSE
* EDM / DANCE: TRANCE
* DOWNTEMPO / AMBIENT

GENRES

Search any keyword, genre synonym, subgenre, artist name, or song name listed in
the genre and super-genre descriptions and playlists.

NAVIGATE

Browse genres alphabetically or search any genre name on the Carta. Then click
on the arrow button to navigate towards your selection on the Carta.

ACID HOUSEACID JAZZ / JAZZDANCEALTERNATIVE ROCK / INDIE IIAMBIENTAMBIENT BREAKS
& ILLBIENTAMBIENT HOUSE / CHILL-OUTAMBIENT TECHNO & IDM (INTELLIGENT DANCE
MUSIC)AMERICAN & BRITISH FOLK REVIVALAMERICANA / ALTERNATIVE
COUNTRYANARCHO-PUNK, CRUST PUNK & D-BEAT / DISCOREASIAN POPBAKERSFIELDBASSLINE &
UK FUNKY(MERSEY)BEAT / BRITISH INVASIONBEBOPBIT MUSIC / VGM (CHIPTUNE &
8-BIT)BLACK METALBLUEGRASSBOOGIE / ELECTROFUNKBOOGIE WOOGIE / PIANO
BLUESBREAKBEAT GARAGE & GRIMEBREAKBEAT HARDCORE (RAVE II)BRILL BUILDING
POPBRITISH BLUES & BLUES ROCKBRITPOPBROKEN BEATSBUBBLEGUM & TEENYBOPCHEMICAL
BREAKS & BIG BEATCHICAGO BLUES / CITY BLUES / URBAN BLUESCHICAGO HOUSE & GARAGE
HOUSECHICAGO JAZZCHICAGO SOUL & DETROIT SOUL (MOTOWN)CLASSIC COUNTRY /
HILLBILLYCLASSIC METALCLASSIC TRANCE & ACID TRANCECONTEMPORARY COUNTRY /
NEOTRADITIONALISTSCOOL JAZZ & WEST COAST JAZZCOUNTRY BLUES / FOLK BLUESCOUNTRY
POP & COUNTRY ROCKCROSSOVER THRASHDANCE POPDANCEHALLDANCE-PUNK & NU RAVEDARK
AMBIENT / DARK INDUSTRIALDARKCORE & DARKSTEPDARKWAVE & COLDWAVEDEATH METALDEEP
FUNK / RARE GROOVE & NU FUNKDEEP HOUSEDETROIT TECHNODIGITAL HARDCORE &
BREAKCOREDIGITAL MINIMALISM / LOWERCASEDISCODISCOPOP / POST-DISCODOO WOPDOOM
METALDREAM POP & SHOEGAZEDUBDUBSTEPEARLY FUNK & P-FUNKEAST COAST GANGSTA RAPEDM
TRAP / TRAPSTEPELECTROELECTRO HOUSE & DUTCH HOUSEELECTROPOPELECTRO
SWINGELECTROCLASHELECTRO-INDUSTRIAL / AGGREPPOELECTRONIC BODY
MUSICEMO-ROCKEUROTRANCE & VOCAL TRANCEEXTREME METAL (BLACK I & SPEED)FIDGET
HOUSE & COMPLEXTROFLORIDA BREAKS (& FUNKY BREAKS)FOLK ROCKFREE JAZZ /
AVANT-GARDE (JAZZ)FREESTYLE & BREAKDANCEFRENCH HOUSE & FUNKY HOUSEFUSION / JAZZ
ROCKFUTURE BASS / FUTURE GARAGEFUTUREPOP(EARLY) GABBER(WEST COAST) GANGSTA
RAPGARAGE & POST-PUNK REVIVALS / NU-RAWKGARAGE ROCKGHETTO HOUSE, GHETTOTECH
&JUKEGLAM METAL / HAIR METAL / POP METALGLAM ROCK / GLITTER ROCK / SHOCK
ROCKGLITCH / CLICKS 'N' CUTSGLITCH HOP & WONKYGOA TRANCE & PSYTRANCEGO-GOGOLDEN
AGE RAP (& HARDCORE RAP)GOTHIC ROCK & DEATHROCKGRINDCOREGRUNGEHAPPY HARDCORE &
BOUNCY TECHNOHARD BOPHARD ROCKHARDCORE TECHNO / RAVEHARDSTEP & TECHSTEPHARDSTYLE
(& JUMPSTYLE)HARDTECHNO (SCHRANZ II)HARDTRANCEHEARTLAND ROCK & A.O.R. (ADULT
ORIENTED ROCK)HILL COUNTRY BLUES & TRANCE BLUESHI-NRG / EURODISCOHIP HOUSE &
EURODANCEHONKY TONK / HARDCORE COUNTRYHORROR PUNK & PSYCHOBILLYIBIZA HOUSE /
TRANCE & DREAM HOUSE / TRANCEINDIE FOLK & FREAKFOLK / NEW WEIRD AMERICAINDIE POP
(TWEE)INDIETRONICA & CHILLWAVE(AVANT-GARDE) INDUSTRIALINDUSTRIAL ROCK /
INDUSTRIAL METALINDUSTRIAL TECHNO & SCHRANZINTELLIGENT / AMBIENT DRUM 'N' BASS &
JAZZSTEPJANGLE POP / INDIE ROCK (& PAISLEY UNDERGROUND)JAZZ RAP / NATIVE
TONGUEJUMP BLUESJUMP UPKRAUTROCKLIQUID FUNKLOUISIANA BLUES / SWAMP BLUESLOUNGE /
EXOTICA / SPACE AGE POPLOVER'S ROCK & UK REGGAEMATH ROCK & MATHCOREMEMPHIS SOUL
/ DEEP SOUL / SOUTHERN SOULMENTOMETALCORE / NEW WAVE OF AMERICAN HEAVY
METALMIAMI BASS & BOUNCEMICROHOUSE / MINIMAL HOUSEMINIMAL TECHNOMINIMAL WAVE /
SYNTH & MINIMAL INDUSTRIAL (REVIVAL)MINIMALISMMODERN GOSPELMOOMBAHTONMUSIQUE
CONCRETEMUZAK / ELEVATOR MUSICNASHVILLE / COUNTRYPOLITANNEO SOUL / NU
SOULNEO-TRANCENEUROFUNKNEW AGENEW BEATNEW JACK SWING / SWINGBEATNEW ORLEANS &
DIXIELAND JAZZ REVIVALSNEW ORLEANS JAZZ & DIXIELAND JAZZNEW PROG / NU PROG /
POST PROG (ROCK)NEW WAVENO WAVENOISE MUSICNOISE ROCKNORDIC JAZZNRG, HARD NRG &
(UK) HARD HOUSENU JAZZ / ELECTRO JAZZNU METAL & RAP METALNU SKOOL BREAKSNU STYLE
(GABBER) / MAINSTREAM HARDCORENU-DISCO & FUNKTRONICANWOBHM (NEW WAVE OF BRITISH
HEAVY METAL)OLD SKOOL JUNGLE & OLD SKOOL DRUM 'N' BASSOLD SKOOL RAP
PIONEERSORIGINAL HARDCORE (PUNK)PHILLY SOUL(EARLY) POP ROCK &POWER
POPPOST-BRITPOPPOST-DUBSTEPPOST-GRUNGEPOST-HARDCORE, EMO(CORE) &
SCREAMOPOST-PUNKPOST-ROCKPOWER METALPROGRESSIVE COUNTRY & OUTLAW
COUNTRYPROGRESSIVE HOUSEPROGRESSIVE METALPROGRESSIVE RAP / NU SKOOL
RAPPROGRESSIVE ROCK, ART ROCK & SYMPHONIC ROCKPROGRESSIVE TRANCEPSYCHEDELIC /
ACID ROCK & PSYCHEDELIAPUB ROCK & PROTO PUNKPUNK ROCKRAGGARAGTIME & STRIDERAP
ROCK, RAPCORE & FUNK METAL(ROOTS) REGGAEREGGAE FUSION & BHANGRAMUFFINREGGAETÓN &
LATIN RAPRELIPOP & -ROCK / CONTEMPORARY CHRISTIAN MUSIC(EARLY) RHYTHM 'N'
BLUESROCK 'N ROLL & ROCKABILLYROCKSTEADYSCHLAGERSINGER/SONGWRITERSKASKA REVIVAL
(2-TONE), SKA PUNK & SKACORESKATE PUNK & POP PUNKSKIFFLE (REVIVAL)SMOOTH
JAZZSOFT ROCK / ADULT CONTEMPORARY (A.C.)SOUL BLUES (SOUTHERN SOUL II)SOUL JAZZ
/ JAZZ FUNKSOUTHERN ROCK(DIRTY) SOUTH RAP, CRUNK & SNAPSPEEDCORE, FRENCHCORE &
TERRORCORE(NEGRO) SPIRITUALS & WORKSONGSSTONER METAL / ROCK & SLUDGE METAL /
ROCKSURF ROCK / INSTRUMENTALSWING / BIG BANDSYMPHONIC METAL & GOTHIC METALSYNTH
/ ELECTRONICASYNTHCORE & CRUNKCORESYNTHPOP & NEW ROMANTICSSYNTHWAVE &
VAPORWAVETECH HOUSETECH TRANCE(FREE)TEK(K)NO(ELECTRIC) TEXAS BLUESTEXAS
BLUESROCK & MODERN ELECTRIC BLUESTHIRD STREAM / PROGRESSIVE JAZZ & MODAL
JAZZTHRASH METALTRADITIONAL GOSPELTRAP & DRILLTRIP HOPUK GARAGE (2-STEP & SPEED
GARAGE)UK HARDCORE & FREEFORM / TRANCECORE & ACIDCOREUPLIFTING TRANCE / EPIC
TRANCEURBAN BREAKS (NU R&B II)URBAN COUNTRYURBAN SOUL / POP (NU R&B I)VAUDEVILLE
/ CLASSIC BLUESWEST COAST BLUESWESTERN SWING
Select a genre

LEGEND | LAYERS

×
primary origin / derivative secondary origin / derivative backlash /
anti-influence various influences / derivatives further dividable into subgenres
hybrid genre (two parent genres) connection point of interrupted line decennial
timeline bi-annual timeline * A-J
* super-genres
* time reference
* background
* other music worlds
* bottom bar
* music groups
* constellation mode

GLOSSARY

×
* 4/4 beat
* acid
* arpeggio
* arrangement
* Autotune
* backbeat
* bar
* barbershop
* blast beats
* blue notes
* bottleneck guitar
* BPM
* breakbeat
* call & response
* chord
* chorus
* contra-genre
* counterpoint
* crooner(s)
* crossover
* delay
* distortion (pedal)
* DIY
* DJ or Deejay
* drone
* drop
* EDM
* falsetto
* feedback
* flanging / flanger
* four-on/to-the-floor rhythm
* fusion
* glitch
* grunting
* half-time (rhythm)
* hi-hat
* hook
* hoover
* hybrid genre
* indie
* kazoo
* keytar
* kick (drum)
* leslie (speaker)
* LFO
* lo-fi
* major
* mash-up
* MC
* mellotron
* MIDI
* modulation
* mosh pit
* multi-tracking
* nillies
* noise
* non-genre
* noughties
* offbeat
* oscillation (audio)
* overlapping
* phasing / phaser
* pitch
* portmanteau
* power chord
* reverb
* revival
* riff
* sawtooth
* sequencer
* shouter(s)
* sibling genres
* sidechaining
* slide guitar
* snare
* sound collage
* subsonic
* super-genre
* syncopated
* synth stabs
* TB-303
* Telecaster
* theremin
* time signature
* time-stretching
* toasting
* TR-808
* TR-909
* turntablism
* umbrella genre
* vocoder
* wobbly bass
* wonky (sound/bass/filter)
* YOLO

GENRE PREFIXES

* nu-
* proto-
* old skool
* post-
* psy-
* neo-
* future-
* nu skool
* progressive / prog-
* synth-

ACKNOWLEDGEMENTS

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DOCUMENTARIES

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musicma p version 1.2.0
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