Internet and the Music Industry Essay - Paper Topics
Internet and the Music Industry Essay - 1099 Words
A quarter century later, Edmund Gurney provides additional arguments for musical autonomy. Although he allows that popular music can be melodically valuable, Gurney’s attack on the distractions of emotional expression clearly consigns most popular music to an inferior category. Hanslick and Gurney are both reacting against the Romantic tendency to value music’s expressive capacity. Responding to the longstanding idea that music expresses emotion by generating a felt, bodily response, both Hanslick and Gurney insist that bodily engagement indicates an inferior response. Again, they extend a Kantian theme. Kant argues that bodily responses create a personal interest that is incompatible with a universalizable and “pure” aesthetic judgment. Together, Hanslick and Gurney are an important source of the view that popular music is inferior because its primary appeal is visceral, bodily, and felt. In contrast, the abstract structures of classical music demand an intellectual response. The body hears, but only the intellect listens (see Baugh 1993, Gracyk 2007).
Internet and the music industry essay - …
Adorno begins with the insight that popular music is characterized by the synthesis of entertainment values and mass art. Twentieth-century popular music is mass art because commercial forces now produce it on an industrial model. It is a commodity aimed at the largest possible number of consumers. Therefore it must combine a high degree of standardization with relative accessibility, and so the same rhythms and structures appear again and again. Yet a constant supply of new “product” must be marketed to consumers. As a result, popular music competes with and replaces local and regional folk traditions (In the wake of the industrial revolution, genuine folk art is no longer possible.). In a commercial world where one popular song sounds much like any other, popular music cannot function as a medium of genuine communication. At best, a philosophically reflective stance sees that its standardization and commercial presentation reflects important facets of the socio-economic conditions that shape it. Its standardization reflects the alienating, oppressive standardization of modern capitalism. The momentarily pleasurable diversions offered by popular music are mere distractions from this alienation – a process that the music itself reinforces. Since it fails to satisfy any genuine needs, exposure to popular music encourages an endless repetition of the cycle of consumption, boredom, alienation, and fresh distraction through consumption.