Week 11; Does The Music Industry Create The Market?

To evaluate this question, ideas concerning how the market we listen to is created needs to be addressed as without the music industry, there would be no music to be produced, yet the consumer literally consumes the music, therefore allowing the market to be popular. Henceforth, do the two ideologies need to work in conjunction with each other, in order to create the market? On the one hand, we can examine how, to a certain extent, the consumer creates the market; the audience are attracted to a certain type of music, knowing their likes and dislikes, consequently affecting the popularity of a song. However, we can argue how the audience needs the music industry in order for their market to be produced, through aspects of promotion on music television stations, cd’s, gigs, and so on. It can also be determined that the music industry controls the consumer, overplaying tracks on the radio, etc before the songs release date, as well as creating standardized songs which has proved popular before and will therefore be a sure hit.

As a result, it is not realistic to suggest that either one of these concepts control the market, as without one, the other cannot exist. The consumer depends on the music industry, as does the music industry on the consumer; the industry distributes the market, promoting it in all manner of ways, whilst the consumer digests it and helps its popularity. Yet, to a certain extent, I am more swayed to believe that the audiences control over the market, is greater than that of the industry; if the listeners do not like the market, it will prove unsuccessful, and the industry will produce another aspect, until the audience accept it. Therefore, the consumer’s role is far more important; they are the listeners who control the music scene.

Week 10; Write a magazine review in the style of that magazine - MixMag

If thumping beats and electro sounds get you going, then MixMag is the magazine for you.

This slash, club magazine is sure to get you dance specialists’ knickers in a twist and if you’re not an expert? Doesn’t matter. Get off your behind and grab the latest issue. Packed full of your pounding, throbbing mixes, MixMag gives you the low down on the latest tunes banging the walls on London’s best clubs. From R’n’b to Electronic, Garage to Indie, its literally tearing from the seams full of info on trance and house music. The interviews, with its vibrant artists, are incisive and penetrating, with a Q & A feel, as well as dedicated pages showcasing a fusion of dynamic, new talent who have our ears pleading for more. Feel like taking your dance shoes outside? Then get clued up on the latest and best festivals advertised in every issue, and join your fellow ravers in enjoying live performances and mixes. This magazine can be considered for all fans of dance, amateur or expert, male or female, with inclusions of fashion and gadgetry to really get the taste buds going. And just because we all enjoy a freebie, there’s a free C.D included in nearly every issue.

MixMag; a magazine that is sure to have your mix.

Week 8: Are Sub-Cultures a Sign of Revolt or an Expression of Style?

To address this question, we must determine the sub-culture; developed to break from the ‘norm,’ sub-cultures are a group of who have different ideas and beliefs that differ from that of the masses which follow popular culture. As a result, their appearance is often different and vivid, often seeming to ‘stick out like a sore thumb’ when compared to the majority of society. Such an example can be noted by observing punks, and how their fashion determines their cultural group. This sub-culture mainly shocks people, enabling them to get noticed within society; using their culture, punks are able to revolt against society in terms of differing themselves from everyone else, expressing their views and beliefs which consequently affected such anarchic bands such as The Sex Pistols, The Ramones and Patti Smith. With this in mind, we can determine how such a sub-culture is that of an expression of style. However, some could argue how it is a way for those cultures to rebel and struggle against the conformities of society, with an example being that of the working class creating the Skin Head culture in order to convey their feelings of inferiority when compared to the middle class.

Week 7 – Can Popular Music be a genuine force for political change?

To address this question, we have to ask how influential music is upon its fans and whether this contributes to political change. More recently than before, music has become a medium in which to address and raise issues to its listeners in order to motivate and influence. Such an example can be noted in bands such as ‘Green Day’ and ‘The Foo Fighters,’ who have more than recently released songs to convey their own views on politics, yet does this influence the listeners? To address this, we must identify the listener; on one hand, the idea contributes to an individual and how influenced they are by the song. Yet, it is arguable that whilst the song may persuade a few, unless we truly listen to the message within the song, then the point of the political meaning is lost. Therefore, in these terms, music can only be a genuine force for political change if the audiences are subjected to really listen to the message, rather than accept it as entertainment. Overall, popular music may not force a change in politics, but it can inform and influence listeners without them almost knowing.

Is DRM the best way to save the music industry?

In evaluating this idea, we must consider the definition of the Digital Rights Management; used to protect copyright on music, consumers pay for the music and it enables a control over music which limits the consumer to use the medium once, thusly protecting it from risks of P2P file sharing. DRM’s ideas of protecting music are based upon theories that consumers are downloading music illegally, either by use of P2P file-sharing (such as Limewire), or borrowing and ripping their friends cd’s, etc. Yet, in some cases, DRM affects compatibility with certain music players as well, putting many customers at a disadvantage. With this in mind, we can examine how research conveys how over 2 million tracks were sold on iTunes in its first year, that of which is likely to have soared in numbers since. Thusly, consumers are buying music, portraying how for every consumer who copies/downloads a song illegally, there are more who are buying legally from one of the many online music stores, consequently suggesting that DRM may not be necessary, and music may not actually need saving.

What Is World Music and Why Does it Exist?

When considering world music, it is arguable to suggest that there is no clear definition of its meaning, as it delivers something different to each person. Yet, it is a category which has been summed up in its own genre; music shops have clearly labeled sections for what is classed as ‘world music,’ along with specific magazines, television and radio stations, etc. Due to this, Guilbault argues that world music has been institutionalized, and is usually associated with “the music’s of the first and third worlds.” Therefore, world music can be derived from stereotypical views of other countries and their cultures, and so forth exists to create an ideal of a type of world music that is different from music to which we are more commonly used to, e.g. popular. However, this idea is debatable as music today uses more cultural aspects than before, for example, The Zutons using a saxophone, Newton Faulkner using a sitar, and so on.

Is Popular Music a Mass Produced Commodity or a Generated Art Form?

When studying Adorno's theory, it is understandable as to why many could argue that popular music is a mass produced commodity; considered as inescapable, we can establish that the "whole structure of popular music is standardized," with the traits of pseudo individualisation used to create an illusion of uniqueness, when in reality it is the same commodity as other music types, but with a different label. However, one could argue differently, suggesting that music is a generated art form; Gendron states that popular music is a recording of a moment in time, and that it is more interested in connotation, creating different emotion and meaning to each person. An example of this can be noted when considering Spandau Ballet - 'True' and Nelly - 'And They Say.' Both songs use the same beat and, at some point, lyrics, yet the meanings are interpreted differently. Overall, I agree with Gendron in accepting popular music as an art from.