The most unwanted music is over 25 minutes long, veers wildly between loud and quiet sections, between fast and slow tempos, and features timbres of extremely high and low pitch, with each dichotomy presented in abrupt transition. The most unwanted orchestra was determined to be large, and features the accordion and bagpipe (which tie at 13% as the most unwanted instrument), banjo, flute, tuba, harp, organ, synthesizer (the only instrument that appears in both the most wanted and most unwanted ensembles). An operatic soprano raps and sings atonal music, advertising jingles, political slogans, and "elevator" music, and a children's choir sings jingles and holiday songs. The most unwanted subjects for lyrics are cowboys and holidays, and the most unwanted listening circumstances are involuntary exposure to commercials and elevator music. Therefore, it can be shown that if there is no covariance—someone who dislikes bagpipes is as likely to hate elevator music as someone who despises the organ, for example—fewer than 200 individuals of the world's total population would enjoy this piece.Komar and Melamid also produced what their research pointed to as America's most wanted song; it's somewhat less interesting, being a schmaltzy assemblage of Kenny G-esque sax, FM electric piano, R&B female vocals and husky male vocals, not to mention the obligatory guitar solo and not one but two truck driver's gear changes. It is, quite literally, a statistical average of early-1990s commercial radio music; if you're morbidly curious, there's a MP3 here. They also did a survey of what the American public liked to see most in paintings, and produced the resulting work of art, an autumnal landscape with wild animals, a family enjoying the outdoors—and, standing in the middle of it, George Washington.
From the artists' own website:
In an age where opinion polls and market research invade almost every aspect of our "democratic/consumer" society (with the notable exception of art), Komar and Melamid's project poses relevant questions that an art-interested public, and society in general often fail to ask: What would art look like if it were to please the greatest number of people? Or conversely: What kind of culture is produced by a society that lives and governs itself by opinion polls?
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