Music as a Cultural Art of Consumption and its Benefactors” This paper will embrace the view on how culture as a commodity embodies and generates formulations In the society(market), examined, with popular music ; a part of search, by believing in Boride’s theories, as prescribed in his essay ‘The forms of capital’ so. As to analyze his fundamental Ideas and further conceptualize it.
Introduction to Boride’s concept of capital and Its forms: To begin with one should know , that for Broodier Capital is accumulated laborer’s it construe, economic capital which Includes Income, wealth, work experience and skills, current employment ; cultural that deals with academic qualification, cultural dispositions inherited and learned during childhood embodied characteristics and capabilities and practical cultural competences and ;social that Includes connections via friend, associational membership and acquaintanceship giving access to networks of influence.
One of the themes, behind Pierre Boride’s voluminous essay Is “the reintegration of the economic and cultural dimensions of society’ and he argues that “culture and economy are intricately related in a web of dual constitutions”. I here in , focus on the role of markets and economic factors, including technology, in influencing culture. Cultural capital’, he writes; ‘Is convertible, on certain conditions, Into economic capital… (page and is acquired overtime as it impresses Self upon one’s habits ;and to provide valuable Information, cultural activities, are Identified through measures of participation, knowledge and judgment 3 which included mass media, arts, music, sports and recreation, domestic leisure etc.
ARGUMENT: As culture Increasingly becomes a commodity, a valued object like casual instrument, is worthy of perpetuation and presentation, born out as a reflection of the relationship between humans and nature, but has been disconnected, to produce different economical benefits from cultural capital, and that the actual music content, or at least the type and nature of the music content, are a For Broodier cultural capital is as high cultural knowledge that ultimately redounds too the owner’s financial and social advantage, hence leaving us with a question that is there such a thing as an authentic culture that stimulates the society and its nature? A brief history of musical instruments and its authenticity: It took a long time for music to come to its present-day form.
In the beginning music was purely used for ritualistic purposes and was restricted to temples. In ancient times, the musical instruments were must during the warms for example in South India. At that time, the conches, drums, trumpets, vocals, wind instruments, orchestral music [now an instrument used in pop music] were all used to create loud music as to entertain the soldiers, motivate and to cheer them to give their best on the battlefield. One type of murals, a type of drum (VIRAL-MURALS) was invented and played during victorious moment in South India. Brass instruments were regularly used as a means of communication during battle, relaying orders for troop.
The argument here is that the music or the instruments which were used and even invented for war purposes only are they still performing or presenting the same national or ethnic cultures or are there any other reasons, with certain economic motivations, measures and meanings. Is it still authentic? Pop Music: The economic system it holds in the market: For if we take an example of the pop music, we see, a given culture may support numerous pop music repertoires, and that the musical entertainment for he masses becomes a completely different phenomenon, although still derived from the market fair and the itinerant circus. It is also merged, writes Scarify, with the renewed vogue for the theatre’ and with the booming capitalist attitude’. The New Harvard Dictionary of Music incorporates the following definition of popular music: “Mass-disseminated music of recent centuries”.
The 18th and 19th centuries saw the development, chiefly in Europe and America, of a genre distinct from both folk and classical or art music. It differed from the former in being composed and notated and n developing a musical style not distinctive of a certain region or ethnic group. Though many early pieces of popular music shared general features with classical performer and listener”. Pop music groups are usually build on similar basic instruments. Throughout history, the guitars like bass, acoustic, and electric has given a dominant sound in pop recordings. A drum beat is an essential part of pop songs played by the drummer on the drum kit or can also be produced electronically by a computer.
A singer is often the central figure in pop music, a leading force; singing, screaming, aping, or spoken words as done by Justine Bibber, Madonna, Christina Agiler in the modern era. The wind driven saxophones [wind instruments] adds a sultry sound and make their most prominent appearances in smooth, sexy sass-style songs in the vein of performers such as Barry White and Isaac Hayes. The tender violin [orchestral strings] has been known to lend its sound to pop songs. Pop music is not a DO-IT-YOURSELF music but is professionally produced and packaged. It became a commodity Just like many other things, ( from long- distance transportation to newspapers) were becoming commodities. An entire industry is born to profit from it and fuel its growth.
My idea of choosing pop music, as an example, for the conduction of the above argument, is due to its changeable and flexible characteristic and because it is accessible to the widest audience (since the mid sass’s) and generates the presence of at least one individual who controls the music-recording technology and markets it, so as to respond to the tastes and attitudes of their mass audience, for if they want their music marketing to survive. This means that the music that sells the most copies draws the largest encore audiences and is played most often on the radio, becoming mostly the soundtrack of the urban middle class, reflecting its social, political and economic urges. Those who view music as a business make choices-about what to present, what to record, what to advertise, and what will sell, since the goal is as large an audience as possible.
The wide range of styles like the Rock and Roll, Country, Disco, Punk, Jazz and Hip Hop are all specific genres of pop music, that have not only influenced but has also created a whole new spectrum of professions namely the owner, the erector, the performer , the publisher, the concert hall owner, the promoter, the advertisers etc, aiming at the youth market by emphasizing on recording, production, and technology, over live performances holding a tendency to reflect existing trends rather than progressive development. Robert Pitman, one of the architects of Mat’s”s marketing strategy claims that “When you’re dealing with a music culture -say, of people aged 12 to 30 -music serves as something beyond entertainment. It’s a representative of their values and their culture” . 9 In the realm of culture, market mechanisms do more than simply give consumers hat they want. Markets give the producer the greatest latitude to educate his or her audience. Art consists of a continual dialogue between producer and consumer; this dialogue helps both parties decide what they want. The market incentive to conclude producers in a process of want refinement. Economic crotchetiness’s our ability to develop sophisticated and specialized tastes. ‘ The selection process by the audience is based on individual interest in various choices from the merchandised possibilities. Many internet sites like meme, musically. Com use music as a means of production and sites which tells about the TOP 40 or say TOP 100 song charts of so and so year gives us the very idea about the acceptation it holds on public ,and gives a certain inkling about the economic growth it provides to its industry every year. A website named “Art of the Mix”, is created with a desire to fully explore the possibilities of mixed tapes.
The site’s participants focus on the creation and distribution of mixes. For, Simon Firth interprets that, pop music is produced , ” as a matter of enterprise not art” is “designed to appeal to everyone” and “doesn’t come from any particular place or mark off any particular taste” , whereas Broodier , the French socialist indicates that each class and class fractions exhibited a relatively unique pattern of tastes, one consistent with its particular mix of culture and economic capital, for within classes, “class fractions” are differentiated from one another by the composition of the capital controlled, in other words, by the ratio of economic capital to cultural capital.
A number of North American studies have found that cultural tastes cut across class boundaries. Richard A. Peterson, an American sociologist, analyses the patterns of cultural choicely 1, and finds that high-status people in the United States do not form an exclusive taste group. However, by distinguishing omnivores from omnivores, Peterson actually returns to a class-based approach that in effect mirrors Bourgeoisie’s divide between highbrows and lowbrows. To the extent that higher-class people are normally familiar with more cultural genres than lower class people, culture is still related to class. Popularizing. Com describe in the site’s FAQ file, their motivations. Since the rise of the digital music era, Popular Music has been at the forefront of music distribution and licensing. In the past several years we have fostered key partnerships with various major record labels, striation channels, licensing agencies and management companies to help independent artists and boutique record labels bridge the gap and become competitive in this ever changing industry. Our sales models and research platforms are regarded as the industry leader in digital disbursement. We have pioneered several viral and otherwise unconventional advertising tactics that have spawned new marketing tools that major artist and record companies rely on continuously to provide them with consistent results.
Clients from every scope of the music industry use Popular Music as the vessel to thousands of recordings every year. Music Activity and Economic Support System Includes: an international monoculture, says a critic. Artists like Amine, Michael Jackson, Taylor Swift, Unripe Gallerias, Iranian, David Guests who uses synchs and samplings, are rather like the spiritual descendants of the urban teenagers. By sass’s the pop music had been greatly affected by the rise of Music television, channels like MET and VHF where songwriters, composers earn publishing royalties and, with the development of new technology additional sources of income emerge.
Live music too is increasingly popular while the sales via downloads continue to rise n the internet sites and various music shops. Different form of web based music companies circulates songs on internet in places like You-Tube to your Mail Box. Deceased, a social networking website dedicated to help people make money online for the things they are already doing, it states “make money by sharing videos, blobs ,music”. Pop music is intended to encourage dancing, or it uses dancing oriented beats or rhythm hence further generating formulations in the market on cultural and social grounds. Shows like “So you think you can dance? ” or “Dancing with the Stars” are based on some similar format.
Today when I switch on my television, I mostly see that many channels have used music as the mode, whether it be MET, exam, Semitic, Worldliest or an one hour session for many channels in the process of a show called “The Musical Countdown” for pop music requires an intermediary to connect the musician and the mass audience by some technological means. The intermediary in this scenario is the individual who owns it, advertises the performance, organizes the performance, and so on, even Plywood, we see, occupies the area where music from Disco to Rock and from Rock to Rap has touched orations and maybe that is the reason why the liner “music out in store now’ holds its effect in the market even before the movie is released.
The connection between audience and Interactions between producers, consumers, and distributors provide the basic setting: performer is also accomplished by the Broadcast media-radio and television, it is in this aspect of the economic systems that the importance of merchandising and commercial factors becomes apparent. Through my search on internet, I found, that the conversion of a folk music system to a pop system is a more substantial ramification. American popular culture is replete with examples of this process. They illustrate a fundamental characteristic of this shift; that is, the division of members of the social group into one of three roles: listener or consumer, performer, or merchandiser, for it became increasingly caught up in the economic support system of pop music.
Another example can be Blues, a pop music system developed in the sass. With the improvisation such as these in the communication technologies, the incineration in the market has speed-up hence becoming more available technology. Paul Willis in early ass explains some economic reasons for the rise of” home- taping”, he noted, and I quote it “as a strategy directly tailored to recession conditions, for it has proved to be a flexible and cheap way of consuming and distributing music, the popularity of this cheap audio recording format was an economic imperative for many young people, who were unable to afford full-priced, new records, hence becoming one of the principal currencies of consumption. After going through a column “Download Central” in a newspaper magazine ‘Brunch; Hindustan times’ , by Santos Nary, where he dictates all sorts of music genres room Gill Scott-Heron to the Drive By Truckers, a Georgia based band; describing the old melodies and the new releases, the ups and downs in the music industry, the hangover of the live audience and the gear-up strategies used behind the whole set- up; my mind, observed and reflected that this is yet another way for encouraging commercial enterprise for the same reasons that pecuniary enjoyments tend to rise in wealthier and more productive system, for it links markets, wealth and creativity. On one hand an article by Nitrate Hazer states that, “the return of the LAP marks quiet revolution in music listening.
Fuelled by nostalgia and better technology the vinyl could be Test cricket to the Twenty of download music” and claims it to be a sign of a “niche market”. Where on other hand Michael Bull, a sociologist writes in his book ‘Sound Moves’ how the pod era provides a portable sound world that offers “Solace and privacy’ quietly emerging the market. We also notice that CD-R Burners are ubiquitous and the term MPH is as much a part of pop culture as Madonna nor Justine Briber. Through a search on internet, I came across with four major corporate labels that dominate recorded music namely ‘Universal Music Group’, ‘Sony Music Entertainment’, Warner Music Group’ and ‘MI’-?and many smaller companies and labels serving different regions and markets.
I would like to draw your attention, by sharing few pie diagrams (l found), by breaking down where profits go in the music industry. US music market shares, according to Nielsen Sounds (2005) And also, This entry is filed under Creative Careers, Economics. SUMMARIZING: We therefore see,that economic forces have had stronger effects on culture. For better or worse, musicians and its systems are subjected to economic constraints, just as other businessmen are. Economic consideration has important implications or music and it’s activities that places the individual or its culture in a way as to survive beyond the immediate moment of its creation for it involves some investment of time and money that could otherwise be devoted to subsistence it required .