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Crossover (music)

Crossover is a term applied to musical works or performers appearing on two or more of the [record chart] s which track differing musical tastes, or [genres] . If the second chart is a [pop chart] , such as a " [Hot 100] " list, the work is not a crossover since the pop charts only track popularity and do not constitute a separate genre.

In some contexts the term "crossover" can have negative connotations, implying the watering-down of a music's distinctive qualities to accommodate to mass tastes. For example, in the early years of [rock and roll] , many songs originally recorded by [African-American music] ians 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. These [covers] were popular with a much broader audience.

In practice crossover frequently results from the appearance of the music in question in a film [soundtrack] . 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?] . Even [atonal music] , which tends to be less popular among classical enthusiasts, has a kind of crossover niche, since it is widely used in film and television scores "to depict an approaching menace", as noted by Charles Rosen

The largest figure to date for a crossover hit in the US has come from [Grammy Award] -winning [country] singer [LeAnn Rimes] , whose song " [How Do I Live] " sold over 3 million copies and spent a world record breaking 69 weeks on the [Hot 100] chart, more than any other song in history, despite peaking only at number 2. It was also a massive hit in Europe.

Classical crossover
Popular Classics

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