Vince Gill and Keith Urban also enlisted an array of acts - from Jason Isbell, the archetype of Americana singer-songwriters, to country-pop heavyweights Florida Georgia Line and Maren Morris - for an arena show benefiting the Country Music Hall of Fame and Museum. Later in the year pop culture blogs would zero in on Simpson's impassioned Facebook essay accusing the country music industry of neglecting its legacy after the announcement of an award named for Haggard, drifting from its moorings and diluting its traditions, criticism that wouldn't carry such an emotional charge in virtually any other genre. In the same month, self-styled outsider Sturgill Simpson released an acclaimed album embroidered with sprawling soul arrangements and psychedelic rave-ups. Jon Pardi - foremost in a group of twenty- and thirty-something neotraditionalists gaining momentum at radio for the first time this decade - highlighted the vintage leanings of his amiably shuffling single with a music video that literally stepped backwards in time. Chris Stapleton, held up by many as a throwback to rugged country masculinity, swept four major categories at the Academy of Country Music Awards. Dolly Parton, who decades ago perfected the art of packaging a downhome persona for glittery, discofied popular consumption, announced a back-to-roots tour and an album that placed an Adult Contemporary sheen on Appalachian folk. Charlie Daniels, newly elected to the Country Music Hall of Fame, did a round of interviews about what that honor meant. Merle Haggard's passing inspired countless remembrances. Consider the amount of influence wielded by exploratory pop affinities and fealty to established symbolism during the month of April alone - and how difficult it often was to tell the two orientations apart. This particular year, though, country's boundaries seemed stretched to new extremes. Built into the very foundation of the mainstream country music industry and its institutions is a tension between continuity and changeability that never really goes away. That's because country music is simultaneously a genre defined by its spelled-out relationship to tradition and a hit-driven radio format akin to the Top 40. But so is the imperative to let the music evolve with changing times and expand its reach in the process. The impulse to look back - to figures enshrined as icons, to sounds that conjure shared references, to historical dependability in general - is strong. In country music, there's no escaping the past. Even atonal music, which tends to be less popular among classical enthusiasts, has a kind of crossover niche, since it is widely used in filmmaking and television production scores "to depict an approaching menace", as noted by Charles Rosen.Dolly Parton, pictured with Kacey Musgraves, Reba McEntire and Jennifer Nettles (obscured), accepts the Willie Nelson Lifetime Achievement Award onstage at the CMA Awards in Nashville in November. For instance, Sacred Harp music experienced a spurt of crossover popularity as a result of its appearance in the 2003 film Cold Mountain, and bluegrass music experienced a revival due to the reception of 2000's O Brother, Where Art Thou?. In practice crossover frequently results from the appearance of the music in question in a film soundtrack. These covers were popular with a much broader audience. For example, in the early years of rock and roll, many songs originally recorded by African-American musicians were re-recorded by white artists such as Pat Boone in a more toned-down style, often with changed lyrics, that lacked the hard edge of the original versions. In some contexts the term "crossover" can have negative connotations, implying the dilution of a music's distinctive qualities to accommodate to mass tastes. If the second chart combines genres, such as a "Hot 100" list, the work is not a crossover. Freebase Rate this definition: 0.0 / 0 votesĬrossover is a term applied to musical works or performers appearing on two or more of the record charts which track differing musical tastes, or genres.
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