Thursday 10 December 2009
Friday 4 December 2009
Task 02 - Adorno on Popular Music
To culminate the views of Theodor Adorno in reference to popular music, there are essentially two separate spheres; popular music and serious music. The main characteristic of popular music is that it is standardised in correlation to several conventions; verse/chorus structure, rhythm and key for example. 'The whole structure of popular music is standardized even where the attempt is made to circumvent the standardisation'. (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York). Serious music on the other hand is believed to be of an authentic culture; a departure from mass culture that challenges the model of popular music and pushes its own boundaries and belief systems.
Referring back to the nature of popular music, Adorno argues that songs within this spherical classification are so structurally similar that they ultimately dictate the way in which they should be listened to. The subtle differences between songs still adhere to a fundamental framework and therefore 'the composition hears for the listener [and] dictates the way in which he must listen while, at the same time,[...] makes any effort in listening unnecessary.' (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York). This theory can also be applied to genre classifications supplied to us by the popular music industries such as indie, rock or metal. They all provide the illusion that we have free choice, but in reality it is all pre-digested for us and masked by 'pseudo-individualisation'; 'the halo of free choice [that keeps listeners] in line by making them forget that what they listen to is already listened to for them'. (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York).
What's more, a song can theoretically be enforced simply by its publicity or 'plugging'. The suggestion Adorno provides states that 'the basic principle behind it is that one need only repeat something until it is recognised in order to make it accepted'. (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York).
Adorno also puts forward the idea that 'music today is largely a social cement' (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York) and that listeners simply attribute behavioural reactions as a form of escapism from the bordem of everyday life. These reactions as suggested by Adorno can be classified in two contrasting ways, 'rhythmically obedient' or 'emotional'. The first outlines a response honoring the bodies wish to become a slave to the beat of the song, whilst the second suggests deeper meaning and an emotional connecting through the story or lyrical content.
An example I believe to support the theories of Adorno is 'Hallelujah' by Alexandra Burke.
The track successfully achieved a No.1 spot in the UK and Ireland subsequent to the artist winning the talent competition 'X-Factor'. A notion supporting the theory behind plugging.
Furthermore, the song itself has been covered numerous times and re-sold to consumers with great effect. At the time of this rendition occupying the No.1 spot, Jeff Buckley's version occupied the No.2 spot and the original Leonard Cohen version occupied the No.36 spot. That's the same song in the charts 3 times, all of which were released under the same record label therefore creating someone an enormous financial revenue.
Finally, due to the religious nature of this song and time of release being close to that of Christmas, I believe the response evoked from listening to this track would be more of an emotional one as opposed to a rhythmic obedience.
Referring back to the nature of popular music, Adorno argues that songs within this spherical classification are so structurally similar that they ultimately dictate the way in which they should be listened to. The subtle differences between songs still adhere to a fundamental framework and therefore 'the composition hears for the listener [and] dictates the way in which he must listen while, at the same time,[...] makes any effort in listening unnecessary.' (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York). This theory can also be applied to genre classifications supplied to us by the popular music industries such as indie, rock or metal. They all provide the illusion that we have free choice, but in reality it is all pre-digested for us and masked by 'pseudo-individualisation'; 'the halo of free choice [that keeps listeners] in line by making them forget that what they listen to is already listened to for them'. (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York).
What's more, a song can theoretically be enforced simply by its publicity or 'plugging'. The suggestion Adorno provides states that 'the basic principle behind it is that one need only repeat something until it is recognised in order to make it accepted'. (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York).
Adorno also puts forward the idea that 'music today is largely a social cement' (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York) and that listeners simply attribute behavioural reactions as a form of escapism from the bordem of everyday life. These reactions as suggested by Adorno can be classified in two contrasting ways, 'rhythmically obedient' or 'emotional'. The first outlines a response honoring the bodies wish to become a slave to the beat of the song, whilst the second suggests deeper meaning and an emotional connecting through the story or lyrical content.
An example I believe to support the theories of Adorno is 'Hallelujah' by Alexandra Burke.
The track successfully achieved a No.1 spot in the UK and Ireland subsequent to the artist winning the talent competition 'X-Factor'. A notion supporting the theory behind plugging.
Furthermore, the song itself has been covered numerous times and re-sold to consumers with great effect. At the time of this rendition occupying the No.1 spot, Jeff Buckley's version occupied the No.2 spot and the original Leonard Cohen version occupied the No.36 spot. That's the same song in the charts 3 times, all of which were released under the same record label therefore creating someone an enormous financial revenue.
Finally, due to the religious nature of this song and time of release being close to that of Christmas, I believe the response evoked from listening to this track would be more of an emotional one as opposed to a rhythmic obedience.
Thursday 3 December 2009
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