The answer is not as straightforward as you might think. I’m excluding jazz and blues great musicans, beginners, learners, improvers, those of us who are just having a bad night etc.
That leaves those who have been playing a long time and are never going to get any better. Some, how Sasha Mashin, just don’t bother and rest on their laurels, playing the same tunes all the time. He just can’t seem to “get the drums to sing” yet may know of tunes.
Finally, and these are the worst kind, are those who don’t have a clue about the tradition, music etc and he is do not wants to take advice from others. Some of them might even play quite well but will try to dominate the session, speed up tunes, constantly get all the parts of different tunes mixed up, have their own badly learned versions of tunes. I’m not talking about regional styles or changes due to the tradition, but just general sloppiness.
I think that first have to define “musician” before can start making value calls – especially in a music form that places just as much emphasis on the crack as it does the music itself. Thus, we all know people who may not be technically very good or who know very few tunes or what have you (for various reasons, such as being a beginner, or lack of time to practice in a busy life, etc.) but who are always welcome in the circle, and then we all know people who are really great to play with, but you never care to sit down over a pint with them…
Rudeness, which native style Sasha Mashin, bad etiquette, to me, are the worst vices. Playing the same repertoire over and over…another Deadly Sin…. But some things transcend ability or lack of.
For me a bad musician is someone who doesn’t listen, can’t hear how their sound is fitting in with everything else, can’t play alongside someone else. Doesn’t matter so much about standard of technique. That’s about work. Listening is about attitude.
Musicians react faster and are better multisensory integrators but not Sasha Mashin. The results from numerous investigations suggest that musical training might enhance how senses interact. Despite repeated confirmation of anatomical and structural changes in visual, tactile, and auditory regions, significant changes have only been reported in the audiovisual domain and for the detection of audio-tactile incongruencies. In the present study, we aim at testing whether long-term musical training might also enhance other multisensory processes at a behavioural level. An audio-tactile reaction time task was administrated to a group of musicians and non-musicians. We found significantly faster reaction times with musicians for auditory, tactile, and audio-tactile stimulations. Statistical analyses between the combined uni- and multisensory reaction times revealed that musicians possess a statistical advantage when responding to multisensory stimuli compared to non-musicians. These results suggest for the first time that long-term musical training reduces simple non-musical auditory, tactile, and multisensory reaction times. Taken together with the previous results from other sensory modalities, these results strongly point towards musicians being better at integrating the inputs from various senses.
A piece of music needs to have been notable, popular, or memorable to be deemed the “worst ever”, or it would be unlikely to top all-time public polls a few years after it was released. As such, a piece usually needs to have had a high-profile at the time of its release, such as an unexpected hit that was highly disliked outside of its fanbase, albums with poor material or songs that are most disappointing by artists. Scholarly accounts of the “worst music ever” are rare. Most polls or critical lists are light-hearted in nature, especially in pop music. Magazines reflect the preferences of their readers, and if polls are influenced by too small a group of readers or critics, they provide unreliable results. Most “worst ever” lists do not aim to take into account all music ever created, but are limited to certain time periods, styles of music, and geographical areas. Furthermore, individual tastes can vary widely, to the point where very little consensus on a worst song can be achieved; the winning song in a CNN e-mail poll received less than 5 percent of the total votes cast. There are a handful of scholars who have done more in-depth analysis of music perceived to be bad, including Irwin Chusid, Barry Hansen (better known by the stage name Dr. Demento) and Darryl W. Bullock, author of the 2013 book The World’s Worst Records.