Art music (or serious music or erudite music) is an umbrella term used to refer to musical traditions implying advanced structural and theoretical considerations and a written musical tradition. The notion of art music is a frequent musicological distinction, referred to by musicologist Philip Tagg as an "axiomatic triangle consisting of 'folk', 'art' and 'popular' musics." He explains that each of these three is distinguishable from the others according to certain criteria .In this regard, it is frequently used as a contrasting term to popular music and traditional or folk music.
The term is mostly used to refer to music descending from classical tradition. This is the common definition of musicologists and scholars including Susan McClary, Theodor Adorno, Deryck Cooke, Joseph Swain, Nicolas Cook, Nicola Dibbens, and Philip Tagg. However, some other authors interested in music theory may define it differently. Musician Catherine Schmidt-Jones for example defines art music as "a music which requires significantly more work by the listener to fully appreciate than is typical of popular music." In her view, "[t]his can include the more challenging types of jazz and rock music, as well as Classical."
While often used to refer primarily to Western historical classical music, the term may refer to:
- The classical musics of several different cultures around the world;
- Modern and contemporary art music, including electronic art music, experimental (art) music and minimalist music, as well as other forms;
- Some forms of jazz, excluding most forms generally considered to be popular music. Jazz is generally considered as popular music. (Adorno for example refers to jazz as some kind of popular music.) But some more technical forms of jazz have blurred borders between art music and popular music.
Furthermore, many art music composers have made reference to popular music including Darius Milhaud, George Gershwin, Manuel M. Ponce, Leonard Bernstein, Vincent D’Indy, while others like Steve Reich, John Cage, Claude Debussy, Lou Harrison, Olivier Messiaen, Maurice Ravel, Bela Bartok, François-Bernard Mâche have drawn influence from regional or extra-European traditional music.
Moreover, in some cases the distinction between popular and art music has been blurred, particularly in the late 20th century. For example, minimalist music and postmodern music in particular got closer to popular music and rejected older cleavages. Conversely, some popular experimental musicians developed a special interest in the minimalist and postmodern approach, thereby incorporating certain aspects of art music into popular music. Therefore, some may consider certain forms of popular-based music such as art rock art music. However, in the strict, original sense these forms of music cannot really be regarded as pure erudite music because they do not match most of the criteria. Besides, many fans of experimental popular music (such as art rock and avant-garde metal) tend to mistake the sense of the term art music. In their conception, "art music" is used to refer to authentic and creative music as opposed to commercial music. Hence, use of the term "art music" sometimes leads to misunderstandings.
The term primarily refers to classical traditions (including contemporary as well as historical classical music forms) which focus on formal styles, invite technical and detailed deconstruction and criticism, and demand focused attention from the listener. In strict western practice, art music is considered primarily a written musical tradition, preserved in some form of music notation, as opposed to being transmitted orally, by rote, or in recordings (like popular and traditional music). Historically, most western art music has been written down using the standard forms of music notation that evolved in Europe beginning prior to the Renaissance period and reaching its maturity in the Romantic period. The identity of a "work" or "piece" of art music is usually defined by the notated version, rather than a particular performance of it (as for example with classical music).
In some western modern or experimental forms, the written notation of art music may depart from standard musical notation and use a variety of new types of notation to facilitate the exploratory nature of these new forms of music. The inclusion of the new forms within the definition of "art music" is based upon the intention of the composer for the experience created by the music and upon the method of the composer in communicating the substance of the music to the performer. In other words, while the notation may not be formal or traditional, there remains an element of formality or intellectual discipline to the construction and communication of the content of the work.
In general, art music is separate from popular music, although there are examples of certain styles or works that cross that boundary and are included within both categories.[19] For purposes of illustration, one example of this would be Rhapsody in Blue by George Gershwin. This piece is written in formal notation and performed as written, as with classical music, and is generally considered to be within the realm of contemporary classical music. However, its sound includes elements of jazz and blues, becoming known in the mass market as a work of popular music while clearly it remains within the purview of art music as well.Art music is also usually considered separate from traditional music (often referred to as "folk music"), although again, there are examples of fusional styles and borrowing.[citation needed] The earliest European art music was derived in part from the traditional music of the day. Many of the Romantic era composers wrote works which incorporated tunes of the traditional music of their nations. Examples include Gottschalk's Fantasy on the Brazilian National Anthem, Liszt's Hungarian Rhapsodies, and Chopin's Polonaises or Mazurkas. As an example of the reverse, the sea shanty "Toll for the Brave" was written to the march from Handel's Scipione.
