Music makers have always borrowed one another’s influences, across philosophies, across culture, and thus, across genres. Since the 1950’s, a time when classical music was at its farthest reach from popular music, the rift between these two “worlds” has shrunk, and music crafters from each category are free to take from the other as they please. As a figure who stands between the cultivated and vernacular traditions, my aim for this thesis is to give an introduction to some of the ways genre hybridization has been achieved since 1950, present a collection of my own compositions (along with recordings) that blend popular and classic styles, and give an analysis of how these compositions attain the mixture of styles. This thesis adds to the body of repertoire of crossbred works, and models example methods to genre hybridization.
","abstract_html":"<p>Music makers have always borrowed one another’s influences, across philosophies, across culture, and thus, across genres. Since the 1950’s, a time when classical music was at its farthest reach from popular music, the rift between these two “worlds” has shrunk, and music crafters from each category are free to take from the other as they please. As a figure who stands between the cultivated and vernacular traditions, my aim for this thesis is to give an introduction to some of the ways genre hybridization has been achieved since 1950, present a collection of my own compositions (along with recordings) that blend popular and classic styles, and give an analysis of how these compositions attain the mixture of styles. This thesis adds to the body of repertoire of crossbred works, and models example methods to genre hybridization.</p>","abstract_has_math":false,"creators":["Moore, Chance"],"institution":null,"degree_name":"Master of Music","degree_level":"Thesis","degree_discipline":"School of Music","degree_department":null,"school":null,"contributors":["Dr. Stephen Lias","Mr. James Adams","Dr. Samantha Inman"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2019,"date_issued":"2019-05-01T07:00:00Z","date_published":"2019-05-01T07:00:00Z","updated_at":"2026-07-24T04:30:22Z","subjects":["music","hybrid","classical","popular","recording","crossover","Composition","Fine Arts","Music Practice","Music Theory"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://scholarworks.sfasu.edu/etds/232","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Dr. Stephen Lias","Mr. James Adams","Dr. Samantha Inman"]},{"key":"dc:creator","label":"Author","values":["Moore, Chance"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2019-05-13T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["School of Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Music"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["music","hybrid","classical","popular","recording","crossover","Composition","Fine Arts","Music Practice","Music Theory"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholarworks.sfasu.edu/etds/232"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Music makers have always borrowed one another’s influences, across philosophies, across culture, and thus, across genres. Since the 1950’s, a time when classical music was at its farthest reach from popular music, the rift between these two “worlds” has shrunk, and music crafters from each category are free to take from the other as they please. As a figure who stands between the cultivated and vernacular traditions, my aim for this thesis is to give an introduction to some of the ways genre hybridization has been achieved since 1950, present a collection of my own compositions (along with recordings) that blend popular and classic styles, and give an analysis of how these compositions attain the mixture of styles. This thesis adds to the body of repertoire of crossbred works, and models example methods to genre hybridization.
"]},{"key":"dc:title","label":"Title","values":["Eclectic: A Recording Project of Original Crossover Compositions"]}]}],"canonical_facts":{"dc:contributor":["Dr. Stephen Lias","Mr. James Adams","Dr. Samantha Inman"],"dc:creator":["Moore, Chance"],"dc:date.available":["2019-05-13T07:00:00Z"],"dc:description.abstract":["Music makers have always borrowed one another’s influences, across philosophies, across culture, and thus, across genres. Since the 1950’s, a time when classical music was at its farthest reach from popular music, the rift between these two “worlds” has shrunk, and music crafters from each category are free to take from the other as they please. As a figure who stands between the cultivated and vernacular traditions, my aim for this thesis is to give an introduction to some of the ways genre hybridization has been achieved since 1950, present a collection of my own compositions (along with recordings) that blend popular and classic styles, and give an analysis of how these compositions attain the mixture of styles. This thesis adds to the body of repertoire of crossbred works, and models example methods to genre hybridization.
"],"dc:identifier":["https://scholarworks.sfasu.edu/etds/232"],"dc:subject":["music","hybrid","classical","popular","recording","crossover","Composition","Fine Arts","Music Practice","Music Theory"],"dc:title":["Eclectic: A Recording Project of Original Crossover Compositions"],"thesis:degree_discipline":["School of Music"],"thesis:degree_level":["Thesis"],"thesis:degree_name":["Master of Music"]},"updated_at":"2026-07-24T04:30:22Z"}