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In the mid-1950s, bandleader Isidro Lopez used accordion in his band, thus beginning the evolution of Tejano music. The rock-influenced Little Joe was the first major star of this scene. Classical music has also been influenced by Latin musicians since the begin of the 20th. century by composers such as Miguel del Aguila and Astor Piazzolla
Music journalist Mark Kemp credits the Beatles with leading pop music's expansion into styles such as world music, psychedelia, avant-pop and electronica, and attracting a bohemian audience that had previously focused on jazz and folk. [516] According to Luhrssen and Larson, the Beatles affected every genre of rock music except jazz rock. [517]
The popularity and worldwide scope of rock music resulted in a powerful impact on society in the 20th century, particularly among the baby boomer generation. Rock and roll influenced daily life, fashion, social attitudes, and language in a way few other social developments have equated to. As the original generation of rock and roll fans ...
Moreover, "understandings of popular music have changed with time". [2] Middleton argues that if research were to be done on the field of popular music, there would be a level of stability within societies to characterize historical periods, distribution of music, and the patterns of influence and continuity within the popular styles of music. [16]
"But that music is a language by whose means messages are elaborated, that such messages can be understood by the many but sent out only by the few, and that it alone among all language unites the contradictory character of being at once intelligible and untranslatable—these facts make the creator of music a being like the gods and make music itself the supreme mystery of human knowledge."
Van Zandt started TeachRock to help keep music and the arts in K-12 public schools by creating and providing lesson plans that integrate music history into state education standards, covering math ...
The earliest songs that could be considered American popular music, as opposed to the popular music of a particular region or ethnicity, were sentimental parlor songs by Stephen Foster and his peers, and songs meant for use in minstrel shows, theatrical productions that featured singing, dancing and comic performances.
Eric Weisbard, the co-editor of Spin magazine's Alternative Record Guide and an organizer of the Experience Music Project conferences, wrote that, just as albums are "structures of order, turning songs, an inherently ersatz form, into statements", Smith's book "albums the album, compiling the 'statement' works that prevailed in jazz, folk, and two generations of rock into a single package". [4]