In Conclusion

The taxonomy of music, as illustrated  by Cantometrics and the Music Genome Project has given us a more robust  understanding of the families of music beyond genre.  Mr Lomax used world music  as a source for his study, but his ideas were based on human emotion and his  experiences as a folklore field worker.  He wanted to affect music theory and  move past pythagorean music theory to make a statement about music that was  cultural and quite human.  I propose that his work was influential on the  development of the Music Genome Project as created by Tim Westergren.  Westergren’s motivation was marketing music and helping listeners find music  that fits their tastes, which, one must say, is both culturally driven, and  quite human.  Both systems used the technology available at both Lomax’s and  Westergen’s time, and as technology advances, what may become for music taxonomy  of the future?  Because of the work of both Lomax and Westergren, we can see the  roots of Dubstep in the United Kingdom and its historical roots in Jamaican  sounds system house music, which was influenced by American garage drum and step  music. From 37 codes to 1000 genes, music and culture and their importance to  field workers or club kids with smartphones and speakers is the heart of folk  music.