14 Rule Changes for 2023 Grammy Awards (Including 5 New Categories)

The Academy says: “This category recognizes the written excellence, profession and art of songwriting for non-performing and non-producing songwriters. This category is for songwriters whose body of work released for the first time during the current eligibility year represents artistic excellence in the area of songwriting.”

Analysis: This category is intended for songwriters who do a meaningful amount of writing for others. Despite what the Academy’s capsule description of the category implies, these songwriters can also be performers and/or producers, but they must have written or co-written a minimum of five songs in which they were not credited as a primary or featured artist, or producer or in any other similar role.

“It’s designed to showcase people who are professional songwriters as opposed to artists that are writing their own material. We want to shine a light on the true craftspeople,” Mason said.

The category is seemingly made for people like Diane Warren, who has written dozens of hits for other artists over nearly four decades. It’s tempting to wonder how many times she would have won or been nominated if the category had been in place all this time.

Songwriters may submit up to nine songs as representative examples of their work, which mirrors the number of submissions allowed for consideration in the producer of the year, non-classical category.

Songs from albums released in a previous year do not count toward a songwriter’s total of releases, even if released as a single or added to a new album released during the current eligibility year. Re-released, covered, re-mixed, re-issued and historical recordings of songs are not eligible.

The nominees in the songwriter of the year category will be determined by a “nominating committee that functions in the same way as a craft committee.” This needs some explanation. You may remember that Mason disbanded nominations review committees in 2021 with some fanfare. And indeed, members’ votes in a great many fields determine the nominees with no committee review.

But as the Academy acknowledged when it disbanded nominations review committees, it was keeping some “craft committees in place. In the composing/arranging field and in two categories — engineering, non-classical and producer of the year, non-classical – members vote on the first-round ballot, but craft committees determine the final nominees. (In five other categories – album notes, historical, immersive audio package and remixed recording – voting members play no role in determining the nominees. They are determined entirely by craft committees.)

What’s different in this case is that the Academy is calling this a “nominating committee.” It does seem to function very much like the nominations review committees that Mason so publicly disbanded. Voting members will vote, a committee will review the top vote-getters and pick the five contenders they think are most deserving, which will become the nominees. Is Mason bringing back nominations review committees on a selected basis as the need arises, or is this just a craft committee under a different name? You decide.

This will be the fourth category in the Composing/Arranging field, along with best instrumental composition; best arrangement, instrumental or a cappella; and best arrangement, instruments and vocals.

The Academy says: “This category recognizes artistic excellence in an alternative performance…that embraces attributes of progression and innovation in both the music and attitudes associated with it. It is often a less intense version of rock or a more intense version of pop and is typically regarded as more original, eclectic or musically challenging. It may embrace a variety of sub-genres or any hybrids thereof and may include performances that do not fit into other genre categories.”

Analysis:  This will be a second category in the alternative music field, along with best alternative music album (which dates to 1990). This will give alternative music parity with four other fields — dance/electronic, global music, music video/film and (as of next year) spoken word — which also have two categories.

Before this, alternative music artists didn’t have a dedicated performance category. In the 32 years that the Grammys have awarded best alternative music album, the winning artist was nominated in a performance category 18 times. But that means that 14 times the winner of best alternative music album wasn’t nominated in a performance category. Five artists who have won in the category – Wilco, Phoenix, Vampire Weekend, St. Vincent and The National – have yet to be nominated in a performance category (in their entire careers). That should change now that there is a dedicated performance category for this genre.

This past year, 231 albums were entered for best alternative music album. St. Vincent won for the second time with Daddy’s Home.

The Academy says: “This category recognizes excellence in performances of Americana music: contemporary music that incorporates elements of various American roots music and vocal styles, including country, roots-rock, folk, bluegrass, R&B, and blues, resulting in a distinctive roots-oriented sound that lives in a world apart from the pure forms of the genres upon which it may draw. While acoustic instruments are often present and vital, Americana often uses a full electric band.”

Analysis: Until now, Americana music performances competed in the best American roots performance category along with bluegrass, blues, folk and regional roots recordings. Because this category has encompassed so many subgenres, it has been among the most crowded categories on the ballot. This past year, there were 433 entries for best American roots performance. With this change, that hefty number will be split between two categories.

This will be the ninth category in the American roots field, which will enable it to surpass the classical field (which has eight categories) as the field with the most categories.

The Academy says: “This Category recognizes excellence in score soundtrack albums comprised predominantly of original scores and created specifically for, or as a companion to, a current video game, or other interactive media (AR/VR/portable devices, etc.), released within the qualification period. At least 2/3 of the musical tracks for the album must have been used in the shipped game product, as either in-game, live action play, or Cinematics within the video game or interactive media product.”

Analysis: Until now, scores for video games and other interactive media competed with scores for “a current legitimate motion picture, television show or series or other visual media” for best score soundtrack for visual media. This past year, 246 entries competed for that award, which was shared by The Queen’s Gambit (Carlos Rafael Rivera) and Soul (Jon Batiste, Trent Reznor and Atticus Ross). No score soundtrack for a video game has ever received a nomination in this category, but that may be because it was simply too hard to get past the film and TV scores that have long dominated the category.

“That’s a huge opportunity because there’s so much music being created and consumed for gaming,” Mason said. “I think there’s probably as much music being put into games as in film and TV – possibly combined. So it’s a chance to reach an under-served, underrepresented group of music makers who, up until now, we have not been paying attention to. It’s huge numbers and there’s so many really creative and talented people working in that field, we felt it was really important to make sure we’re honoring that music.”

The Academy says: “This category recognizes excellence in spoken word poetry albums…Albums of spoken word poetry with or without music collaboration or accompaniment, and instructional recordings are eligible. (If the recording has musical accompaniment but is primarily spoken word, the narrator would be eligible while the musical accompanist(s) may be identified in parentheses.)

Analysis: Until now, spoken word poetry albums competed with audio books and storytelling for best spoken word album (includes poetry, audio books & storytelling). This past year, there were 189 entries in the category, which was won by actor Don Cheadle for Carry On: Reflections for a New Generation from John Lewis.

Three famous poets have won in the spoken word category over the years. Maya Angelou was a three-time winner (On the Pulse of Morning, 1993; Phenomenal Woman, 1995; and A Song Flung Up to Heaven, 2002). Rod McKuen won the 1968 award for Lonesome Cities. Carl Sandburg won the 1959 award for narrating A Lincoln Portrait, but that consisted not of his poetry but of excerpts from President Lincoln’s speeches.

The Academy made a related change: The category formally known as best spoken word album (includes poetry, audio books & storytelling) has been renamed best audio book, narration & storytelling recording.

The Academy says: “[This category] will recognize creators of message-driven music that responds to the social issues of our time and has the potential for positive global impact… Submissions must contain lyrical content that addresses a timely social issue and promotes understanding, peacebuilding and empathy…This special merit award will be determined by a blue-ribbon committee and ratified by the Recording Academy board of trustees.”

Analysis: Mason didn’t have a clear answer for why the Academy chose to make this a special merit award rather than a regular, competitive Grammy category. One possible reason – not voiced by Mason – is that this way the Academy can control who wins, which they can’t when the choice is left to the voters.

“The feeling was that a special merit award for that would be exciting; a first, a way to honor a great song in a different way,” Mason said.

Seven songs that are socially relevant (to varying degrees) have won song of the year — “We Are the World” (1985), “That’s What Friends Are For” (1986),  “From a Distance” (1990), “Streets of Philadelphia” (1994), “Change the World” (1996), “This Is America” (2018) and “I Can’t Breathe” (2020). They could still compete in that category (and in genre songwriting categories), in addition to this one.

Several other award shows have added similar categories in recent years. The MTV Video Music Awards added best video with a message in 2011. The category continues to this day, though it has had several name changes over the years. Since 2019, the category has been called video for good.

The Billboard Music Awards have given a Change Maker Award in each of the last three years.

The Academy says: “All Recording Academy members will receive five courtesy entries every year. For additional entries, members will pay $40 (early bird fee); $75 (standard fee); or $125 (final deadline fee) per additional entry. Registered media companies will pay a fee of $65 (early bird fee); $95 (standard fee); or $125 (final deadline fee) for per entry. Considerations will be made for artists/members experiencing financial hardships. Any member who would be burdened by the entry fees can request the fees be waived by reaching out to the Recording Academy Awards Department.”

Analysis: While most members are strategic about not “flooding the zone” with entries, largely to avoid having multiple entries split their votes in a given category, some members do indeed submit large numbers of entries, perhaps figuring this will help get their name out there. They have little hope of getting a nomination anyway, and may figure this is free publicity.

“We still want to encourage members, labels and people who are submitting to submit,” Mason said. “The idea here is hopefully people will submit the work they’re most proud of and most excited to enter, and be thoughtful about what they’re entering and where they’re entering it.”

This sounds like a healthy change. Anything that helps shrink the size of the entry list, which can be punishingly long, is a good thing.

The Academy says: “To be eligible for Grammy Award consideration, an album must contain greater than 75 percent playing time of newly recorded (within five years of the release date), previously unreleased recordings. The previous eligibility rule was 50 percent. Note: The updated album eligibility rule was approved in 2021 but is going into effect for the 65th Annual Grammy Awards cycle.

Analysis: This would appear to be a rule change that would meet with little opposition – of course albums should be predominately new if they are competing for a Grammy. But the Academy took the highly unusual step of giving its membership a full year to prepare for the change.

If this rule had been in place in 1995, Michael Jackson’s HIStory: Past, Present and Future — Book I, which was half new and half old recordings, would not have been eligible for the album of the year nod it received.

Six categories — best compilation soundtrack, best historical album, best immersive audio album, best recording package, best special package, and best album notes — accept albums of recordings that are not newly recorded.

The Academy says: “Three categories within the classical field will now be determined by highly specialized craft committees: producer of the year (classical), best engineered album (classical) and best contemporary classical composition.”

Analysis: Previously, the nominees in all classical categories were determined by rank-and-file voting members.

This brings producer of the year, classical, in line with producer of the year, non-classical. Members vote on the first-round ballot for producer of the year, non-classical, but craft committees determine the final nominees.

The change will probably cut down on the frequency of repeat winners in this category. David Frost, Steven Epstein and Roberts Woods have each won producer of the year, classical seven times. Judith Sherman is a beat behind with six wins, including one earlier this year. By contrast, no producer has won producer of the year, non-classical more than four times. (Babyface is the top winner, with four wins in that category.)

Rank-and-file voting members are often more swayed by a big, immediately recognizable name than craft committee members would be.

The Academy says: “Category definitions have been updated to award composers and librettists in addition to artists, producers and engineers.”

Analysis: Current rules for best opera recording say: “Award to the conductor, album producer(s) and principal soloists.” This year’s winner was a recording of Philip Glass’s “Glass: Akhnaten” by the Metropolitan Opera Orchestra: the Metropolitan Opera Chorus.

Current rules for best classical compendium say: “Award to the artist(s) and to the album producer(s) and engineer(s) of over 51% playing time of the album, if other than the artist.” This year’s winner was Women Warriors – The Voices of Change.

The Academy says: “The category formerly known as best new age album has been renamed best new age, ambient or chant album and the [name of the] field has also been updated to reflect that change.”

Analysis: This will be one of the most complex category names on the ballot. (“New age, ambient or chant” sounds like a set-up line Ed McMahon would feed Johnny Carson on his Carnac The Magnificent bit.)

The new age category dates to 1986. The first winner was Andreas Vollenweider’s Down to the Moon. There were 139 entries this year. This year’s winner was Stewart Copeland & Ricky Kej for Divine Tides.

The Academy says: “Category definition has been updated to award composers and lyricists of more than 50 percent of the score of a new recording.

Analysis: This award dates to 1958, the first year of the awards. The first winner was Meredith Willson’s The Music Man.  There were 45 entries this year. The winner was The Unofficial Bridgerton Musical.

The old rules stated: “Award to the principal vocalist(s) and the album producer(s) of 51% or more playing time of the album. The lyricist(s) and composer(s) of a new score are eligible for an award if they have written and/or composed a new score which comprises 51% of more playing time of the album.”

The Academy says: “Some language in the criteria for this category which had been removed has now been restored to recognize principal artists and in-studio producers.”

Analysis: This award dates to 1999. The first winner was Phil Collins for Tarzan. There were 55 entries this year. The winner was Andra Day for The United States vs. Billie Holiday.

The category’s description this year was: “Award to the artist(s) and/or ‘in studio’ producer(s) of a majority of the tracks on the album. In the absence of both, award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs and producers, as applicable. Award also goes to appropriately credited musical supervisors.”

The Academy says: “The newly amended definition of the best remixed recording category helps to reflect the remix craft as it currently stands in the industry: the creation of a new, full-track, unique performance created by a remixer from a previously released recording.”

Analysis: This category was added in 1997. The first winner was Frankie Knuckles’ “Franktidrama Club Mix” of Toni Braxton’s “Un-break My Heart.” This year’s winner was Mike Shinoda’s remix of Deftones’ “Passenger.”