John Lee Hooker Earlier career when did his career begin? Hooker's recording career began in 1948, What was his first recording? The single, "Boogie Chillen'", Was Boogie Chillen popular? The single, "Boogie Chillen'", became a hit and the best-selling race record of 1949.
what genre of music is it?
what genre of music does John Lee Hooker make?
Hooker's recording career began in 1948, when Modern Records, based in Los Angeles, released a demo he had recorded for Bernie Besman in Detroit. The single, "Boogie Chillen'", became a hit and the best-selling race record of 1949. Despite being illiterate, Hooker was a prolific lyricist. In addition to adapting traditional blues lyrics, he composed original songs. In the 1950s, like many black musicians, Hooker earned little from record sales, and so he often recorded variations of his songs for different studios for an up-front fee. To evade his recording contract, he used various pseudonyms, including John Lee Booker (for Chess Records and Chance Records in 1951-1952), Johnny Lee (for De Luxe Records in 1953-1954), John Lee, John Lee Cooker, Texas Slim, Delta John, Birmingham Sam and his Magic Guitar, Johnny Williams, and the Boogie Man.  His early solo songs were recorded by Bernie Besman. Hooker rarely played with a standard beat, but instead he changed tempo to fit the needs of the song. This often made it difficult to use backing musicians, who were not accustomed to Hooker's musical vagaries. As a result, Besman recorded Hooker playing guitar, singing and stomping on a wooden pallet in time with the music.  For much of this period he recorded and toured with Eddie Kirkland. In Hooker's later sessions for Vee-Jay Records in Chicago, studio musicians accompanied him on most of his recordings, including Eddie Taylor, who could handle his musical idiosyncrasies. "Boom Boom" and "Dimples", two popular songs by Hooker, were originally released by Vee-Jay. CANNOTANSWER
In addition to adapting traditional blues lyrics,
John Lee Hooker (August 22, 1912 or 1917 – June 21, 2001) was an American blues singer, songwriter, and guitarist. The son of a sharecropper, he rose to prominence performing an electric guitar-style adaptation of Delta blues. Hooker often incorporated other elements, including talking blues and early North Mississippi Hill country blues. He developed his own driving-rhythm boogie style, distinct from the 1930s–1940s piano-derived boogie-woogie. Hooker was ranked 35 in Rolling Stones 2015 list of 100 greatest guitarists.

Some of his best known songs include "Boogie Chillen'" (1948), "Crawling King Snake" (1949), "Dimples" (1956), "Boom Boom" (1962), and "One Bourbon, One Scotch, One Beer" (1966). Several of his later albums, including The Healer (1989), Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997), were album chart successes in the U.S. and UK. The Healer (for the song "I'm In The Mood") and Chill Out (for the album) both earned him Grammy wins as well as Don't Look Back, which went on to earn him a double-Grammy win for Best Traditional Blues Recording and Best Pop Collaboration with Vocals (with Van Morrison).

Early life
Hooker's date of birth is a subject of debate; the years 1912, 1915, 1917, 1920, and 1923 have all been suggested.  Most official sources list 1917, though at times Hooker stated he was born in 1920.  Information found in the 1920 and 1930 censuses indicates that he was actually born in 1912.  In 2017, a series of events took place to celebrate the purported centenary of his birth. In the 1920 federal census, John Hooker is seven years old and one of nine children living with William and Minnie Hooker in Tutwiler, Mississippi.

It is believed that he was born in Tutwiler, in Tallahatchie County, although some sources say his birthplace was near Clarksdale, in Coahoma County. He was the youngest of the 11 children of William Hooker (born 1871, died after 1923), a sharecropper and Baptist preacher, and Minnie Ramsey (born c. 1880, date of death unknown). In the 1920 federal census, William and Minnie were recorded as being 48 and 39 years old, respectively, which implies that Minnie was born about 1880, not 1875. She was said to have been a "decade or so younger" than her husband (Boogie Man, p. 23), which gives additional credibility to this census record as evidence of Hooker's origins.

The Hooker children were homeschooled. They were permitted to listen only to religious songs; the spirituals sung in church were their earliest exposure to music. In 1921, their parents separated. The next year, their mother married William Moore, a blues singer, who provided John Lee with an introduction to the guitar (and whom he would later credit for his distinctive playing style).

Moore was his first significant blues influence. He was a local blues guitarist who, in Shreveport, Louisiana, learned to play a droning, one-chord blues that was strikingly different from the Delta blues of the time.

Another influence was Tony Hollins, who dated Hooker's sister Alice, helped teach Hooker to play, and gave him his first guitar. For the rest of his life, Hooker regarded Hollins as a formative influence on his style of playing and his career as a musician. Among the songs that Hollins reputedly taught Hooker were versions of "Crawlin' King Snake" and "Catfish Blues".

At the age of 14, Hooker ran away from home, reportedly never seeing his mother or stepfather again. In the mid-1930s, he lived in Memphis, Tennessee, where he performed on Beale Street, at the New Daisy Theatre and occasionally at house parties.

He worked in factories in various cities during World War II, eventually getting a job with the Ford Motor Company in Detroit in 1943. He frequented the blues clubs and bars on Hastings Street, the heart of the black entertainment district, on Detroit's east side. In a city noted for its pianists, guitar players were scarce. Hooker's popularity grew quickly as he performed in Detroit clubs, and, seeking an instrument louder than his acoustic guitar, he bought his first electric guitar.

Earlier career
Hooker was working as janitor in a Detroit steel mill when his recording career began in 1948, when Modern Records, based in Los Angeles, released a demo he had recorded for Bernie Besman in Detroit. The single, "Boogie Chillen', became a hit and the best-selling race record of 1949. Though illiterate, Hooker was a prolific lyricist. In addition to adapting traditional blues lyrics, he composed original songs. In the 1950s, like many black musicians, Hooker earned little from record sales, and so he often recorded variations of his songs for different studios for an up-front fee. To evade his recording contract, he used various pseudonyms, including John Lee Booker (for Chess Records and Chance Records in 1951–1952), Johnny Lee (for De Luxe Records in 1953–1954), John Lee, John Lee Cooker, Texas Slim, Delta John, Birmingham Sam and his Magic Guitar, Johnny Williams, and the Boogie Man.

His early solo songs were recorded by Bernie Besman. Hooker rarely played with a standard beat, but instead he changed tempo to fit the needs of the song. This often made it difficult to use backing musicians, who were not accustomed to Hooker's musical vagaries. As a result, Besman recorded Hooker playing guitar, singing and stomping on a wooden pallet in time with the music.

For much of this period he recorded and toured with Eddie Kirkland. In Hooker's later sessions for Vee-Jay Records in Chicago, studio musicians accompanied him on most of his recordings, including Eddie Taylor, who could handle his musical idiosyncrasies. "Boom Boom" (1962) and "Dimples", two popular songs by Hooker, were originally released by Vee-Jay.

Later career

Beginning in 1962, Hooker gained greater exposure when he toured Europe in the annual American Folk Blues Festival.  His "Dimples" became a successful single on the UK Singles Charts in 1964, eight years after its first US release. Hooker began to perform and record with rock musicians.  One of his earliest collaborations was with British blues rock band the Groundhogs.  In 1970, he recorded the joint album Hooker 'n Heat, with the American blues and boogie rock group Canned Heat, whose repertoire included adaptations of Hooker songs. It became the first of Hooker's albums to reach the Billboard charts, peaking at number 78 on the Billboard 200.  Other collaboration albums soon followed, including Endless Boogie (1971) and Never Get Out of These Blues Alive (1972), which included Steve Miller, Elvin Bishop, Van Morrison, and others.

Hooker appeared in the 1980 film The Blues Brothers.  He performed "Boom Boom" in the role of a street musician.  In 1989, he recorded the album The Healer with Carlos Santana, Bonnie Raitt, and others.  The 1990s saw additional collaboration albums: Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997) with Morrison, Santana, Los Lobos, and additional guest musicians.  His re-recording of "Boom Boom" (the title track for his 1992 album) with guitarist Jimmie Vaughan became Hooker's highest charting single (number 16) in the UK. Come See About Me, a 2004 DVD, includes performances filmed between 1960 and 1994 and interviews with several of the musicians.

Hooker owned five houses in his later life, including houses located in Los Altos, California; Redwood City, California, Long Beach, California, and Gilroy, California.

Hooker died in his sleep on June 21, 2001, in Los Altos, California in his home. He is interred at the Chapel of the Chimes in Oakland, California. He was survived by eight children, 19 grandchildren, and numerous great-grandchildren.

Collaborations 

 1968 with The Groundhogs: Hooker & the Hogs 
 1969 with The Doors: Hooker and Jim Morrison sing "Roadhouse Blues", published 2000 on the tribute album Stoned Immaculate: The Music of The Doors
 1971 with Canned Heat: Hooker 'n' Heat 
 1985 with Kingfish: "Put A Hand On Me" on the album Kingfish, featuring John Lee Hooker and Mike Bloomfield 
 1989 Hooker sang on the album The Iron Man by Pete Townshend, on the songs "Over the Top" and "I Eat Heavy Metal"
 1991 with Charlie Musselwhite: "Cheatin' On Me" on the album Signature
 1992 with Lightnin' Hopkins: "Katie Mae" and "Candy Kitchen" on the album It's A Sin To Be Rich
 1992 with Branford Marsalis: "Mabel" on I Heard You Twice the First Time
 1992 with John P. Hammond: "Driftin' Blues" on the album Got Love If You Want It
 1993 with Zakiya Hooker: "Loving People" and "Mean Mean World" on the album Another Generation Of The Blues
 1993 with B.B. King: "You Shook Me" on his album Blues Summit
 1993 with Van Morrison: "Gloria" on his album Too Long In Exile 
 1996 with Michael Osborn: "Shake It Down" on his album Background in the Blues
 1997 with Big Head Todd and the Monsters: "Boom Boom" on the album Beautiful World 
 2001 with Zucchero: "I Lay Down" on his album Shake

Several Hooker songs have resulted in remixes. The piece "Sure Thing" on the album Tourist (2000) by the French musician St Germain became well known. This remix is based on vocal and guitar passages from "Harry's Philosophy" from the album Hot Spot (1990). Hooker's adaptation "It Serves Me Right to Suffer" was remixed by French DJ and music producer The Avener (actually Tristan Casara) on his album "The Wanderings of the Avener" (2015).

Awards and recognition
Among his many awards, Hooker was inducted into the Blues Hall of Fame in 1980, and the Rock and Roll Hall of Fame in 1991. He was a recipient of a 1983 National Heritage Fellowship awarded by the National Endowment for the Arts, which is the United States government's highest honor in the folk and traditional arts. He was awarded the Grammy Lifetime Achievement Award in 2000 and has a star on the Hollywood Walk of Fame. He is also inducted into the Mississippi Musicians Hall of Fame.

Two of his songs, "Boogie Chillen" and "Boom Boom", are included in the Rock and Roll Hall of Fame's list of the 500 Songs That Shaped Rock and Roll. "Boogie Chillen" is also included in the Recording Industry Association of America's list of the "Songs of the Century".

In 2007, John Lee Hooker was voted into the Michigan Rock and Roll Legends Hall of Fame.

Grammy Awards
 Best Traditional Blues Recording, 1990, for I'm in the Mood, with Bonnie Raitt
 Best Traditional Blues Album, 1995, for Chill Out
 Best Traditional Blues Recording, 1998, for Don't Look Back
 Best Pop Collaboration with Vocals, 1998, "Don't Look Back", with Van Morrison
 Grammy Lifetime Achievement Award, 2000

Discography

Charting singles

Charting albums

Film
 The Blues Brothers on Maxwell Street (Chicago) outside Aretha Franklin's restaurant (1980)
 John Lee Hooker & Furry Lewis DVD (1995)
 John Lee Hooker - That's My Story DVD (2001)
 John Lee Hooker Rare Performances 1960–1984 DVD (2002)
 Come See About Me DVD (2004)
 John Lee Hooker: Bits and Pieces About … DVD and CD (2006)

Literature 
 Charles Shaar Murray: Boogie Man – The Adventures of John Lee Hooker in the American Twentieth Century. Penguin Books, England 1999
 Robert Palmer: Deep Blues – A Musical and Cultural History of the Mississippi Delta. Penguin Books, Toronto 1982. ISBN 978-0-14-006223-6

References

External links

 
 The Great R&B-files - The R&B Pioneers Series
 

1910s births
2001 deaths
20th-century American guitarists
Age controversies
African-American guitarists
African-American male singer-songwriters
American blues guitarists
American male guitarists
American blues singer-songwriters
Blues musicians from Mississippi
Blues musicians from Tennessee
Blues revival musicians
Charly Records artists
Chess Records artists
Country blues musicians
Detroit blues musicians
Electric blues musicians
Flair Records artists
Grammy Lifetime Achievement Award winners
Kent Records artists
Modern Records artists
National Heritage Fellowship winners
Specialty Records artists
Vee-Jay Records artists
Singer-songwriters from Tennessee
Singer-songwriters from Mississippi
Guitarists from Mississippi
Guitarists from Tennessee
People from Tutwiler, Mississippi
People from Los Altos, California
Black & Blue Records artists
20th-century African-American male singers
Singer-songwriters from California
Future house is a house music genre that emerged in the 2010s in the United Kingdom, described as a fusion of deep house, UK garage and incorporating other elements and techniques of other EDM genres. It is high in energy, generally consisting of big drops, 4/4 beats and is sonically bass heavy.

Etymology
The term "future house" was coined by French DJ Tchami and was first used to categorise his 2013 remix of "Go Deep" on SoundCloud. Tchami used the term without considering it a genre saying in a 2015 interview "Future house was meant to be 'any kind of house music that hasn't been invented yet,' so I never considered it as a genre. I guess people made it what it is because my music was specific and leading to build a bridge between house and EDM, which isn't a bad thing". Later, in 2016, the popular online music store for DJs Beatport added Future house as one of three new genre tags. The genre has been credited as also being pioneered by Oliver Heldens and Don Diablo.

Characteristics
Future house is a subgenre of house music. Songs within the genre are normally characterized by a muted melody with a metallic, elastic-sounding drop and frequency-modulated basslines. The most common tempo is 126 and 128 BPM, but it can vary around the 120–130 mark.

Popularity
Oliver Heldens' international chart successes "Gecko (Overdrive)" and "Last All Night (Koala)" brought the genre to wider mainstream recognition in 2014, leading to minor feuds between him and Tchami on social media. Artists such as Martin Solveig, GTA and Liam Payne have since incorporated the sound into their work, leading some commentators to observe the commercialization of the style.

See also

 List of electronic music genres
 Styles of house music

References

House music genres
2010s in music
Electronic dance music genres
English styles of music
UK garage A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably.

Music can be divided into genres in varying ways, such as popular music and art music, or religious music and secular music. The artistic nature of music means that these classifications are often subjective and controversial, and some genres may overlap.

Definitions
In 1965, Douglass M. Green distinguishes between genre and form in his book Form in Tonal Music. He lists madrigal, motet, canzona, ricercar, and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes "Beethoven's Op. 61" and "Mendelssohn's Op. 64 ". He explains that both are identical in genre and are violin concertos that have different form. However, Mozart's Rondo for Piano, K. 511, and the Agnus Dei from his Mass, K. 317, are quite different in genre but happen to be similar in form." 

In 1982, Franco Fabbri proposed a definition of musical genre that is now considered to be normative: "musical genre is a set of musical events (real or possible) whose course is governed by a definite set of socially accepted rules", where a musical event be defined as "any type of activity performed around any type of event involving sound". 

A music genre or subgenre may be defined by the musical techniques, the cultural context, and the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will often include a wide variety of subgenres. Timothy Laurie argues that, since the early 1980s, "genre has graduated from being a subset of popular music studies to being an almost ubiquitous framework for constituting and evaluating musical research objects". 

The term genre is generally defined similarly by many authors and musicologists, while the related term style has different interpretations and definitions. Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language". Others, such as Allan F. Moore, state that genre and style are two separate terms, and that secondary characteristics such as subject matter can also differentiate between genres.

Subtypes 
A subgenre is a subordinate within a genre. In music terms, it is a subcategory of a musical genre that adopts its basic characteristics, but also has its own set of characteristics that clearly distinguish and set it apart within the genre. A subgenre is also often being referred to as a style of the genre. The proliferation of popular music in the 20th century has led to over 1,200 definable subgenres of music.

A musical composition may be situated in the intersection of two or more genres, sharing characteristics of every parent genre and therefore belong to each genre of these at the same time, such subgenres are known as fusion genres. Examples of fusion genres include jazz fusion, which is a fusion of jazz and rock music, and country rock which is a fusion of country music and rock music.

A microgenre is a niche genre, as well as a subcategory within major genres or their subgenres.

Categorization and emergence of new genres 
The genealogy of musical genres expresses, often in the form of a written chart, how new genres have developed under the influence of older ones. New genres of music can arise through the development of new styles of music; in addition to simply creating a new categorization. Although it is conceivable to create a musical style with no relation to existing genres, new styles usually appear under the influence of pre-existing genres.

Musicologists have sometimes classified music according to a trichotomous distinction such as Philip Tagg's "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.

Automatic recognition of genres 

Automatic methods of musical similarity detection, based on data mining and co-occurrence analysis, have been developed to classify music titles for electronic music distribution.

Glenn McDonald, the employee of The Echo Nest, music intelligence and data platform, owned by Spotify, has created a categorical perception spectrum of genres and subgenres based on "an algorithmically-generated, readability-adjusted scatter-plot of the musical genre-space, based on data tracked and analyzed for 5,315 genre-shaped distinctions by Spotify" called Every Noise at Once.

Alternative approaches 
Alternatively, music can be assessed on the three dimensions of "arousal", "valence", and "depth". Arousal reflects physiological processes such as stimulation and relaxation (intense, forceful, abrasive, thrilling vs. gentle, calming, mellow), valence reflects emotion and mood processes (fun, happy, lively, enthusiastic, joyful vs. depressing, sad), and depth reflects cognitive processes (intelligent, sophisticated, inspiring, complex, poetic, deep, emotional, thoughtful vs. party music, danceable). These help explain why many people like similar songs from different traditionally segregated genres.

Starting from the end of 1970s, Vincenzo Caporaletti has proposed a more comprehensive distinction of music genres based on the "formative medium" with which a music is created, that is the creative interface (cognitive milieu) employed by the artist. Following this framework, formative media may belong to two different matrixes: visual or audiotactile with regards to the role played in the creative process by the visual rationality or the bodily sensitivity and embodied cognition. The theory developed by Caporaletti, named Audiotactile Music Theory, categorises music in three different branches: 1) written music, like the so-called classical music, that is created using the visual matrix; 2) oral music (like folk music or ethnic music before the advent of sound recoring technologies); 3) Audiotactile music, which are process of production and trasmission is pivoted around sound recording technologies (for example jazz, pop, rock, rap and so on). These last two branches are created by means of the above-mentioned audiotactile matrix in which the formative medium is the Audiotactile Principle.

Major music genres

Art music

Art music primarily includes classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world. It emphasizes formal styles that invite technical and detailed deconstruction and criticism, and demand focused attention from the listener. In Western practice, art music is considered primarily a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music usually are. Historically, most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance 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 by a particular performance and is primarily associated with the composer rather than the performer (though composers may leave performers with some opportunity for interpretation or improvisation). This is so particularly in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is primarily a form of popular music. The 1960s saw a wave of avant-garde experimentation in free jazz, represented by artists such as Ornette Coleman, Sun Ra, Albert Ayler, Archie Shepp and Don Cherry. Additionally, avant-garde rock artists such as Frank Zappa, Captain Beefheart, and The Residents released art music albums.

Popular music

Popular music is any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects:

Popular music, unlike art music, is (1) conceived for mass distribution to large and often socioculturally heterogeneous groups of listeners, (2) stored and distributed in non-written form, (3) only possible in an industrial monetary economy where it becomes a commodity and (4) in capitalist societies, subject to the laws of 'free' enterprise ... it should ideally sell as much as possible.

Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, and movie and television soundtracks. It is noted on the  Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do.

The distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies often draws on both traditions. In this respect, music is like fiction, which likewise draws a distinction between literary fiction and popular fiction that is not always precise.

Country music

Country music, also known as country and western (or simply country) and hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s.

Electronic music

Electronic music is music that employs electronic musical instruments, digital instruments, or circuitry-based music technology in its creation. Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music (EDM).

Funk

Funk is a music genre that originated in African American communities in the mid-1960s when musicians created a rhythmic, danceable new form of music through a mixture of soul, jazz, and rhythm and blues (R&B).

Hip hop music 

Hip Hop music, also referred to as hip hop or rap music, is a genre of music that was started in the United States, specifically the South Bronx in the New York City by African-American youth from the inner cities during the 1970s. It can be broadly defined as a stylized rhythmic music that commonly accompanies rapping, a rhythmic and rhyming speech that is chanted. Hip hop music derives from the hip hop culture itself, including four key elements: emceeing (MCing)/rapping, Disc jockeying (DJing) with turntablism, breakdancing and graffiti art.

Jazz 

Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana, United States, in the late 19th and early 20th centuries, with its roots in blues and ragtime.

Latin music

Pop music

Pop is a genre of popular music that originated in its modern form during the mid-1950s in the United States and the United Kingdom. The terms popular music and pop music are often used interchangeably, although the former describes all music that is popular and includes many disparate styles.

Punk

The aggressiveness of the musical and performative style, based on structural simplicity and the vigorous rhythms of rock'n'roll style, reinforced the challenging and provocative character, within the universe of modern music.

Reggae 

Reggae music, originating from the late 1960s Jamaica, is a genre of music that was originally used by Jamaicans to define themselves with their lifestyle and social aspects. The meaning behind reggae songs tend to be about love, faith or a higher power, and freedom. Reggae music is important to Jamaican culture as it has been used as inspiration for many third world liberation movements. Bob Marley, an artist primarily known for reggae music, was honored by Zimbabwe's 1980 Independence celebration due to his music giving inspirations to freedom fighters. The music genre of reggae is known to incorporate stylistic techniques from rhythm and blues, jazz, African, Caribbean, and other genres as well but what makes reggae unique are the vocals and lyrics. The vocals tend to be sung in Jamaican Patois, Jamaican English, and Iyaric dialects. The lyrics of reggae music usually tend to raise political awareness and on cultural perspectives.

Rock music

Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the late 1940s and early 1950s, developing into a range of different styles in the mid-1960s and later, particularly in the United States and the United Kingdom.

Metal music 

Heavy metal evolved from hard rock, psychedelic rock, and blues rock in 1980s, and became a rougher style than the rock music. Notable subgenres include thrash metal, death metal, power metal, and black metal.

Soul music and R&B 

Soul music became a musical genre that came to include a wide variety of R&B-based music styles from the pop R&B acts at Motown Records in Detroit, such as The Temptations, Gladys Knight & the Pips, Marvin Gaye and Four Tops, to "deep soul" singers such as Percy Sledge and James Carr.

Polka

The polka is originally a Czech dance and genre of dance music familiar throughout Europe and the Americas.

Religious music

Religious music (also sacred music) is music performed or composed for religious use or through religious influence. Gospel, spiritual, and Christian music are examples of religious music.

Traditional and folk music 

Traditional and folk music are very similar categories.  Although the traditional music is a very broad category and can include several genres, it is widely accepted that traditional music encompasses folk music. According to the ICTM (International Council for Traditional Music), traditional music are songs and tunes that have been performed over a long period of time (usually several generations). 

The folk music genre is classified as the music that is orally passed from one generation to another. Usually the artist is unknown, and there are several versions of the same song. The genre is transmitted by singing, listening and dancing to popular songs. This type of communication allows culture to transmit the styles (pitches and cadences) as well as the context it was developed.

Culturally transmitting folk songs maintain rich evidence about the period of history when they were created and the social class in which they developed. Some examples of the Folk Genre can be seen in the folk music of England and Turkish folk music.  English folk music has developed since the medieval period and has been transmitted from that time until today.  Similarly, Turkish folk music relates to all the civilizations that once passed thorough Turkey, thereby being a world reference since the east–west tensions during the Early Modern Period.

Traditional folk music usually refers to songs composed in the twentieth century, which tend to be written as universal truths and big issues of the time they were composed.  Artists including Bob Dylan; Peter, Paul and Mary; James Taylor; and Leonard Cohen transformed folk music to what it is known today.  Newer composers such as Ed Sheeran (pop folk) and The Lumineers (American folk) are examples of contemporary folk music, which has been recorded and adapted to the new way of listening to music (online)—unlike the traditional way of orally transmitting music.

Each country in the world, in some cases each region, district and community, has its own folk music style.  The sub-divisions of folk genre are developed by each place, cultural identity and history.  Because the music is developed in different places, many of the instruments are characteristic to location and population—but some are used everywhere: button or piano accordion, different types of flutes or trumpets, banjo, and ukulele.  Both French and Scottish folk music use related instruments such as the fiddle, the harp and variations of bagpipes.

Psychology of music preference

Social influences on music selection
Since music has become more easily accessible (Spotify, iTunes, YouTube, etc.), more people have begun listening to a broader and wider range of music styles. In addition, social identity also plays a large role in music preference. Personality is a key contributor for music selection. Those who consider themselves to be "rebels" will tend to choose heavier music styles like heavy metal or hard rock, while those who consider themselves to be more "relaxed" or "laid back" will tend to choose lighter music styles like jazz or classical music. According to one model, there are five main factors that exist that underlie music preferences that are genre-free, and reflect emotional/affective responses. These five factors are:

 A Mellow factor consisting of smooth and relaxing styles (jazz, classical, etc.).
 An Urban factor defined largely by rhythmic and percussive music (rap, hip-hop, funk, etc.).
 A Sophisticated factor (operatic, world, etc.)
 An Intensity factor that is defined by forceful, loud, and energetic music (rock, metal, etc.).
 A campestral factor, which refers to singer-songwriter genres and country.

Individual and situational influences
Studies have shown that while women prefer more treble oriented music, men prefer to listen to bass-heavy music. A preference for bass-heavy music is sometimes paired with borderline and antisocial personalities.

Age is another strong factor that contributes to musical preference. Evidence is available that shows that music preference can change as one gets older. A Canadian study showed that adolescents show greater interest in pop music artists while adults and the elderly population prefer classic genres such as rock, opera, and jazz.

See also
Composition school
Genealogy of musical genres
List of music styles
List of popular music genres
List of radio formats
Radio Data System, which enables the tagging of the genre of broadcasts within defined categories
List of Grammy Award categories, which defines a list of genres
List of ID3v1 Genres
Billboard charts, which defines a list of genres

References

Further reading