Week 11: Does the Music Industry create the Market?

On one hand, music labels are now part of the larger global media corporation; large labels such as Sony or Universal own and create successful television and film productions. It could be suggested that due to this corporations use artists on their own labels to appear and market in their own productions. Therefore this idea of cross promotion illustrates a massive integration of the whole process and illustrates that the music industry certainly does create the market through these means.
Likewise, the music industry controls the consumer by trying to make a song successful by overplaying it on the radio or television music stations through to creating songs using a formulated and standardised method.
On the other hand, according to ibid, ‘…the audience focused approach emphasises the resistance of individuals and groups to the ideological dominance of the culture industries and of mainstream culture in general.’ Therefore, the audience makes up their own mind on what musically they are attracted to, although the music industry satisfies this need for music they do not have all the control on the market as every individual is different and not every song is a hit even though they are heavily marketed.
In conclusion, it is not realistic to suggest that popular music exists unmediated by the music industry, although the audience depends on the music industry for access to the music, from the purchase of records and concert tickets, it is the control of the music industry and the consumer that equally create the market. The music industry controls the market through promotion and distribution but it is the consumer who has the most important role to play; the romance comes from the audience themselves.

Week 10: Review a music magazine in the style and language of the chosen music magazine.

If you like nothing better then checking out the newest dance floor crazes from around the country and informative question and answer articles from the best and biggest artist around, ‘Mix Mag’ is for you. This dedicated clubbing slash music magazine is full of information, not only the hottest house and trance music for the clubber in us all; built-in is a run down of the latest acts in the world of Soul, Electronic, R&B, Garage and Indie Rock. And if that wasn’t enough most issues arrive complete with a free CD.
There is something in this magazine for both sexes; whilst the women will be attracted to the mountainous number of fashion pages, the men can ponder the newest available gadgets to relish their taste spuds. The adverts included issue you the various up-and-coming festivals and events appearing in your local area and around the world another chance for you to spend your good earned money!
The many pages showcasing new bands and artists state what we should be listening to and are an interesting eye opener for any present raver or potential clubber out there.
As you can see this monthly magazine has it all, for both males and females alike and if you still what more you can check out their webpage and daily blogs for all your musical needs.

Week 9: Are Blackness and Whiteness useful concepts in the study of Popular Music?

This question could be said to be problematic, in a sense it is difficult to classify just how this concept helps ones understanding of popular music, as different genres within popular music express different issues, environmental and cultural values.
On one hand, it could be seen to be easy on the surface to define which musical genres are associated race wise, yet it is difficult to break down exactly which race dominates and derives from popular music, as popular music in itself is a combination of various musical influences and genres. The musicological concept suggests that no definitions of any terms are provided within the distinction of ‘blackness’ and ‘whiteness’ in the study of popular music. (John Tagg, 1989.)Likewise, it is rather the class and economical background that are the important factors to analyse.
Similarly one could question cultural music such as Asian and oriental music; how do these fit in within the study of blackness and whiteness in the study of popular music?
Although, blackness and whiteness may not be useful concepts in the study of popular music, through this analysis one receives the historical perspectives, influences and issues at the heart of ‘white’ and ‘black’ music which does aid a certain understanding to this study. However it is important to note that this concept does not explain how the future of popular music is affected by this theory or the whole story behind this concept.

Week 8: Are subcultures a sign of revolt or an expression of style?

According to Hebdige, (1988) ‘…sub-cultural and sub-cultural style does not represent commercial exploitation or genuine revolt but the creation of an independent, insubordinate identity, if only as an ephemeral phase.’
On the one hand, the subculture of Punk was seen to be a mixture of communities in which the style of the working class was adopted, with long coats, Doc Martin boots, smart Ben Sherman T-shirts and short hair cuts in response to the wider economical issues at the time, the declining industrial professions and other marginalised groups. These young adults were responding to the work situation of their parents and the country and in their own demeanours promoted it through an expression of style and attitudes.
It could be said that in actual fact subcultures are both a sign of revolt and an expression of style. For example, by using shocking imagery and symbols of such horrific figures as Adolph Hitler, ‘punks’ were not only generating coverage of their rebellious spirit but questioning society and its downfalls.
However, it could then be questioned that subcultures do not necessary concentrate on style but rather content. Therefore it could be said that subcultures revolted against the status quo in society through music and a peculiar lifestyle in order to ‘…construct identities within a social order dominated by class, generational difference and work.’ (S. During: The cultural studies reader.) Therefore, subcultures are a sign of revolt towards society demonstrated through the expression of style.

Week 7: Can popular music be a genuine force for political change?

In one manner of speaking music is an interesting forum for ideas, beliefs and issues, with its ever increasing fan base it is clearly visible how popular music contributes towards political change.
On one hand, this idea rests solely on an individual and just how influenced they are by such mediums. A strong, political song may change the mind of a few yet, one must question it whether it changes the core of ‘real’ issues?
Awareness concerts may be viewed as a successful means of displaying a message to the masses; yet they only reflect that time period. It could possibly be said that many have forgotten the issues concerned in such concerts thus the effect is not ever lasting.
Effectively, the artists who make such stands as a consequence have their song banned, the media attention surrounding them paves the way for them to comment politically to a large audience. If the artists were not as popular or well-known would their ideals be taken seriously or even listened to?
On the other hand, music is a form of expression and binds us all together. No matter how much publicity these artists receive, the provocative visual imagery used makes a difference no matter how small and this is what it is all about.
Popular music in politics above all creates an awareness of world issues at large, it may not force a genuine change but they educate people of all ages to certain issues in the world and therefore creates something positive in order to create change.

Week 6: Is DRM the best way to save the music industry?

The fact of the matter is that the DRM or to give it is full name Digital rights management, could be said to help save the music industry, yet it could be said to be too late to limit online download sales. Industry attorney Peter Paterno as quoted in Rolling Stones magazine has said, ‘…the record business is over. The labels have wonderful assets; they just can’t make money off them.’
Supported by this claim in the article are the figures for the top ten albums in the US in 2000 where artists combined sold 60 million copies. Astonishingly, 2006 saw that album sells had plummeted to 25 million with digital sales increasing, music labels are struggling due to online downloading sales.
Subsequently, one of the major music labels EMI are the only label offering music in an unencrypted format.
This leads one to believe that DRM is possibly not the best way to save the business the point of the matter is that there will always be a way of downloading free songs as long as there is a market. EMI are offering variation to consumers through different mediums such as iTunes, Amazon, Snocap and HMV’s newly launched online music store at lower prices. Perhaps the other major music labels should follow suit?
In conclusion, possibly the best way to save the music industry would be by examining why people download in the first place. Thus illustrating what the music industry could do in order to ‘tap’ into what the free service does not offer in order to compete. Most importantly consumers are looking for one thing, that they can acquire music or tracks they want at a low cost. It is whether or not the music industry can adapt to this that will save them.

Week 5: Can popular music ever really be unplugged?

In understanding and exploring the above question, one must break down the term technology and look upon the electronic technologies such as microphones, amplifiers, and multi-track recordings.
One could argue that technology allows one to create new and unique sounds due to invention of multi microphones. Similarly, the idea of the ‘perfect recording’ makes music more meaningful and accessible as an artist can create the exact sound they want bit by bit. Without technology this would be impossible.
Likewise, amplifiers allow wider and a greater choice of venues to showcase music, without such technology it would be impossible for a one man band to be heard clearly around large open air stadiums.
On the other hand, playing live and recorded sounds are very different on stage; songs that are made up of many different components make it hard to produce the same sound live. Yet, when seeing an act live do you actually want to hear the artist sing exactly like the record?
This idea of unplugged music is as www.mtv.com suggests, ‘…the peeling away of the trappings of an artists music to reveal the essence at its core.’ Therefore meaning perhaps that it is the lyrics and meaning of the song that is more important then the construction of the tracks. However, music is made much more accessible through technology and without it certain popular music would not work or develop.

Week 4: What is World Music and why does it exist?

The term ‘world music’ is often associated with music other from that of Anglo-American culture. The traditional and authentic culture of ‘world’ or ‘local’ music represents not only, ‘…a tiny subculture.’ (J. Guilbault. World Music.) Yet it promotes a distinctive sense of national, historical and cultural identity for the people.
Yet this definition of world music is problematic in itself, as a number of texts are seen to be a combination of both local and global music, by use of language, instruments, musical styles or even ideas represented in both distinctions.
Subsequently, the fact that world music is made more accessible through the internet, television, theatre and film leads one to question the effects of global music within the world music network. For example, if one is exposed to world music through these medians does it then become ‘global’?
An important point to make is that it is through an individual’s interpretation of what world music is that defines it. In a sense, music is universal and in discovering world music or the music of a certain culture, one discovers the culture as a whole. Is this not why world music really exists, for us to appreciate and learn from cultures other than that of our own?

Week 3: Can Mass Produced Popular Music be Art?

In order to comment on the above question it is essential to consider the workings of Theodor Adorno, whose reaction to the swing and jazz genre in the 30s and 40s was critical of mass produced medians, and can also be applied to canonical popular music to date.
Suggested in his theory is the idea that popular music is baseless entertainment that is unchallenging and distracting from what is going on in the world. Adorno illustrates that mass produced music cannot be art as it limits the questioning of our social and industrial lives.
However, art is defined on Dictionary.com as, ‘…a production, expression or realm according to aesthetic principles, of what is beautiful, appealing or of more than ordinary significance.’ This leads one to question that mass produced music could therefore be art as it appeals and effects different people in different ways.
Consequently, Adorno’s standardisation of popular music is a somewhat narrow conception, after all music is an expression of cultural identity within certain social and time frames. Therefore who is to say that mass produced music is not art if it carries great significance to an individual through the expression and content of the song?

Week 2: What are strengths and weaknesses of Peterson’s production of culture perspective on the birth of Rock and Roll?

Peterson’s production of culture perspectives concentrates on six key factors that make sense of the reasons why (as Peterson suggests) ‘rock broke into the mass market.’ Although Peterson is successful in stimulating ideas such as the accessibly of technology and how this lend to the explosion of rock and roll; these factors categorise its birth without the mention of the consumer’s impact on the industry. Therefore it could be said that the human element is lacking in Peterson’s argument. One important point to make is that, this era was a time of rebellion and deep set racial tensions where Rock and Roll was seen as an outlet and a way of young adults to relate to each other and to the emotional connections presented in these songs. Again there is no suggestion of these ideas within Peterson’s perspective.
Similarly, when one thinks of Rock and Roll music, the sound and instruments used are important elements in the interpretation, feel and creation of these tracks. Yet Peterson also does not take this idea into account. There had to be something about the music itself that attracted so many to it; it can not be simply down to these six factors only. Perhaps therefore in order to understand and evaluate the birth of Rock and Roll one must question what was significant about Rock and Roll at the time as well as drawing on Peterson’s evaluation.

Week 1: What is Popular Music?

The questioning of what is popular music could be said to be somewhat problematic as the Labour Law Talk dictionary online suggests popular music is, ‘…music belonging to any of a number of cultures, including classical, folk, or other music that has entered popular culture. In a broader sense “popular music” means any sort of music intended for mass consumption and propagated over the radio and similar media.’
Therefore it could be suggested that popular music is defined by its wide appeal and accessibility to the general public. In a sense popular music is interest bound and therefore it is difficult to determine what exactly popular music is due to its ever changing nature.
In order to understand and question popular music one must consider the cultural content and effect of mass produced music within different cultures. In effect popular music could be said to represent memories of a period of time as different music stirs up different feelings for different people. Music contributes to the social identity of many, therefore it could be questioned that popular music is perhaps, how and what different individuals perceive it to be.