C remains central to our computing infrastructure but still lacks a clear and complete semantics.
Programmers lack tools to explore the range of behaviours they should expect; compiler development lacks test oracles; and formal verification and analysis must make (explicitly or implicitly) many choices about the specific C they target.
As a result, music could not be regarded as art if it lacked genius and autonomy.
By the beginning of the twentieth century, most intellectuals endorsed the elitist consensus that popular music lacks these features.
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Such arguments have concentrated on rock music, blues, and hip-hop.
Among the topics that have benefited from this reconsideration are the nature of music’s aesthetic value, music’s claim to autonomy, and the ontology of music.
In recent years, however, popular music has become an important topic for philosophers pursuing either of two projects.
First, popular music receives attention from philosophers who see it as a test case for prevailing philosophies of music.
Although the category of popular music presupposes differences from serious music, there is limited consensus about the nature of these differences beyond the near-tautology that most people prefer popular music to art music.