The Crossover Conflict
© COPYRIGHT by Karyn E. Garvin 2012 ALL RIGHTS RESERVED ABSTRACT Given that most musical compositions are often influenced by other works, it is no surprise that classical and popular music should at times overlap, causing one of these genres to crossover into the other, thereby creating a whole new genre conveniently declared “crossover.” Crossover is most commonly defined as when a mainstream pop artist decides to broaden his or her artistry by including elements of classical music, or a classically trained musician experiments with so-called lighter fare. Such a notion can be expanded, however, if crossover is examined more closely and assigned to different genres. Creating an advanced classification system for certain types of Classical Crossover can enhance the music education experience, allowing new generations to appreciate, and experiment with, classical music in new forms. ii ACKNOWLEDGEMENTS This project was made possible thanks to the dedication and knowledge of the author’s Capstone Committee: Michael Wilkerson (Chair) and Ximena Varela, professors of Arts Management at the American University; and James B. Hewitt, Personnel Manager for the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts in Washington, DC. Additional gratitude to Glenn Donnellan, violinist, National Symphony Orchestra; Sara Griffin, Assistant Principal Librarian, the New York Philharmonic; Caroline Kearney, vocalist; and Sally Roberts, Librarian, National Institute of Standards and Technology, for providing their guidance and expertise on a wealth of varying subjects, all of which are fascinating. iii TABLE OF CONTENTS ABSTRACT……………………………………………………………………………….……...ii ACKNOWEDGEMENTS……………………………………………………………..…………iii LIST OF TABLES…………………...……………………………………………………………v Chapter 1. INTRODUCTION…………………………………………………………..….…..……1 2. CLASSICAL CROSSOVER: HISTORY AND CONTENTION…….……….……..….5 3.
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