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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.

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DUPRE, Jeff, CHERMAYEFF, Maro, Soundbreaking – Stories from the Cutting Edge of Recorded Music – Episode 1-8, A Show Of Force Production, 2015. 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. MOORE, Allan, The Cambridge Companion to Blues and Gospel Music, Cambridge University Press, Cambridge, 2002.OH, Ingyu, LEE, Hyo-Jung, Mass Media Technologies and Popular Music Genres: K-Pop and YouTube, in Korea Journal vol.53/nr.4, pp.34-58, 2013. ESCOTT, Colin, Lost Highway - The True Story of Country Music, Smithsonian Books, Washington DC, 2003. OLIVER, Paul, HARRISON, Max, BOLCOM, William, The New Grove – Gospel, Blues and Jazz, Papermac, London, 1986. PERCINO, Gamaliel, KLIMEK, Peter, THURNER, Stefan, Instrumentational Complexity of Music Genres and why Simplicity Sells, in: PLOS DOI:10.1371/nr.0115255, December 2014.

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BUTLER, Mark J. (ed.), Electronica, Dance, and Club Music – from: the Library of Essays on Popular Music, Ashgate, Surrey, 2012.Two semiquavers are equal to one quaver, or four semiquavers are equal to one crotchet, or eight semiquavers are equal to one minim, or sixteen semiquavers are equal to one semibreve (which is why they’re called sixteenth notes). LENA, Jennifer C., PETERSON, Richard A., Classification as Culture: Types and Trajectories of Music Genres, in: American Sociological Review, vol.73/nr.5, pp.697-718, 2008. 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? MADRID, Alejandro L., Nort-Tec Rifa! Electronic Dance Music from Tijuana to the World, Oxford University Press, New York, 2008.

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KINGSBURY, Paul, NASH, Alanna (ed.), Country Music – The Complete Visual History, Dorling Kindersley, London, 2006. REYES, Ian, Sound, Technology, and Interpretation in Subcultures of Heavy Music Production, PhD thesis, University of Pittsburgh, 2008. REED, Alexander S., Assimilate: A Critical History of Industrial Music, Oxford University Press, New York, 2013.

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REYNOLDS, Simon, Retromania – Pop Culture”s Addiction to its own Past, Faber and Faber, London, 2011. Two crotchets are equal to one minim, and four crotchets are equal to one semibreve (which is why they’re called quarter notes, as they’re a quarter of a whole note).

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DUNN, Sam (dir.), Metal: A Headbanger's Journey, Seville Pictures, 2005 (DVD). Ibidem: Metal Family Tree, 2005. 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. 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.FORMAN, Murray, The ‘Hood Comes First – Race, Space, and Place in Rap and Hip-Hop, Wesleyan University Press, Middletown, 2002. COOK, Nicholas, POPLE, Anthony (eds.), The Cambridge History of Twentieth-Century Music, Cambridge University Press, Cambridge, 2004.