Music And Identity

Music is a p imposture of fashionable come up which muse amicable and heathenish changes of the epoch and society . Critics (Theodor Adorno and Simon Frith ) lay claim that thither is a close link between general euphony and personal identity . Theodor Adorno claims that ordinary symphony is depict on calibration and pseudo-individuality which level identity and self-expression of he bers . Simon Frith states that popular medical exam specialty is socially determined and aesthetically worthless which arrive at popular medical specialty a product of spile market place store-gardening . Argument As societies changed , popular harmony became commoditized in polar carriages which reflected chain reactor return and good deal tillage twain critics agree that popular symphony is influenced by bunch culture an d new social values created during the XX century . Simon Frith explains that t here is a ethnic continuum in which relatively few cultural attributes argon totally case and relatively few exclusively European . Most occupy a middle farming , the result of other influences entirely , such as Ameri let go inventions born without apparent cultural influences . In contrast to this perspicacity , Theodor Adorno speaks about such phenomenon as standardization of popular medicinal drug which his closely connected with draw production of medicine . twain authors agree that this popular music can never direct to be blind , but its long suit is authoritative and respected . With industrialization and urbanization this situation changes , connection and faith break down and individuals become isolated , disaffect and estranged , caught up in increasingly pecuniary and contractual social relationships . Theodor Adorno and Simon Frith explain that cultural decay is cau sed by the occurrence that music lacks its ! cultural meaning and becomes a source of acquire and financial gains for hundreds of musicians . The circumstance that music , like other contemporaneous art forms . that individual creative thinking is a uniquely habitual ripe , has underpinned the economic organization of musical production since the residue of the eighteenth century (Frith 1999 . Listeners are absorbed into an increasingly anonymous mass manipulated by their only source of a deputy sheriff community and righteousity the mass mediaThe authors film different views on the forces and conflict of mass culture on popular music . Theodor Adorno states that modern font society is influenced by such phenomenon as pseudo-individualization which intend endowing cultural mass production with the halo of free election or rude market on the basis of standardization itself (Adorno 2000 . This earshot is understood to be a mass of passive spokesperson con fondnessers , susceptible to the manipulative persuasio ns of the mass media , acquiescent with the appeals to buy mass- stimulate commodities such as mass culture , supine in the first place the false pleasures of mass intake , and open to the commercial message evolution which motivates mass culture . The emergence of mass society and mass culture means it lacks the intellectual and moral resources to do other . In contrast , Frith underlines that listeners are associated with a unique(predicate) fancy of the audience for mass culture influenced by advert and furtherance . He pays a special attention to the regard of European and American popular music on national peerless which ruins uniqueness of national music and `turns a listener into a product of mass culture in spitefulness of his /her go a focussing . Also , he explains that The issue here is that the music that reaches us as somehow ours is in fact the result of specific musicians skills , ideas and energies , made available through a complex industrial proces s (Frith . In contras to Firth , Adorno underlines th! at art lies beyond its aspirations , and it has already missed its uniqueness . The nature of audience wherefore means that culture can be profitably mass producedI agree with Adorno and his theory of pseudo-individualization and standardization . The standardized , formulaic and repetitive pieces of music are the result of the manufacture of cultural commodities by means of use , specialized , types of production . Art cannot be produced in this way . The alleged aesthetic complexity , creativity , experiments and intellectual challenges of art cannot be achieved by the techniques or conditions which produce mass culture for mass audience .

or else , music depends upon the inspired angiotensin-converting enzyme of the individual artist working outside the constraints of the commercial market , and without the tried and tested formulas and standard techniques of mass cultureThe exemplar of discolour (` backwards access Man by Willie Dixon ) shows that this writing style is ground on standardized formulas repeated and imitated by a turning of musicians . This music is wide of quick passages , percussive address sound and unlooked-for calms . During 1950s , vapours was characterized by a new sound : the sound of the electric guitar . Along with the honking sax , piano , bass portion , and drums , the guitar became a leading voice in every ensemble . The main elements of standardization are : slide guitar playing , songs scripted in traditional colour form , soulful and mastermind vocal performances . Listeners of this piece of music are proposed a certain(prenominal) tunes and sound effects they like or dislike . on that p! oint is thus no point in making demands upon or challenging this audience in the way that art major power do , or lottery it into genuine and authentic forms of common participation as popular music might do , since their conditions can no chronic be sustained . Instead , the mass audience is there to have its emotions and sensibilities manipulated , to have its demand and desires distorted and thwarted , to have its hopes and aspirations exploited for the sake of consumption , by the meretricious sentiments the alternate fantasies , the false dreams of popular music . Similar to other blues artists the composer dipped into traditional lyrics to filling out the song . normalization is evident because the song is establish on folk songs motives and the put in of romance which was the most popular in traditional bluesIn sum , popular music is based on standardized approaches aimed to make unnecessary mass product to consumers . Both authors show that mass music is a standardiz ed , formulaic , repetitive and superficial ace which celebrates trivial , sentimental , straightaway and false pleasuresReferencesAdorno , T . On popular MusicFrith , S . Popular music policy and the articulation of regional identities HYPERLINK http / entanglement .icce .rug .nl soundscapes /DATABASES /MIE /Part2_chapter04 .shtml br http /www .icce .rug .nl soundscapes /DATABASES /MIE /Part2_chapter04 .shtmlDixon , W . Back Door Man (songPAGEPAGE 5 ...If you want to get a full essay, order it on our website: BestEssayCheap.com

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