In the 1970s, the commercial success of Fusion Jazz inspired many record producers to "fuse" jazz with other types of music and develop many new types. The record company shrewdly labeled them "Crossover Jazz". This type of record was very pleasing to the ears of ordinary listeners, and later it turned out that Crossover Jazz was a good recipe for the revival of the jazz record market.

Later, the term "Classical Crossover" appeared, and it became a category in the rankings and was very popular. The Grammys also established an exclusive award for Best Classical Crossover Album in 1998.

Today, classical crossover has become the most watched crossover. Sometimes when people talk about crossover, they mean classical crossover. The participation of many musicians and performers also makes this field exciting, and it cannot be simply evaluated as a commercial gimmick.

Classical crossover music allows people to appreciate its formal beauty from a certain distance. Like Sarah Brightman, she represents a classical crossover model that is widely accepted by the public: graceful bel canto and popular arrangement. This model has almost become her exclusive technique, so many singers are competing to apply it, which greatly reduces the creativity of cross-border music.

Also, we often focus on “music” and ignore the others. In fact, the crossover music represented by Sarah Brightman is often a performance method: music crosses boundaries, and visuals also cross boundaries.

Yo-Yo Ma represents another type of classical crossover, a kind of cultural travel-style music. Just like the name of the album "Appalachian Journey", it uses sound to describe the American style of the Appalachian Mountains and tells the story of immigration. When we listen to it, it feels like we are on a journey to find our cultural roots. This kind of music does not draw too much attention to the "pattern", which is already hidden in the face of musical depth.

This kind of crossover also allows us to appreciate the multi-faceted charm of classical musicians. Just like in "Soul of the Tango", the reserved and elegant Yo-Yo Ma suddenly released the wildness of Latin and the joy of the market. If Piazzolla heard this, he would probably like Yo-Yo Ma like this.