Are Blackness and Whiteness useful concepts in the study of popular music?


Popular music is a broad category dominated by no singular sub-genre of music, a mixture of musical influences from across all genres. The terms ‘Black’ and ‘White’ music does not appear be a useful ideology when classifying music as a type. It can evidently loosely define the stereotypical origin of the music because of how society is shaped into thinking through the surge of globalisation and exposure to issues of race. We are therefore trained into thinking that so-called ‘Black’ music is Rap and Hip Hop and conventional ‘White’ music is Opera and Classical pieces. However if you analyse artists such as rapper Eminem you can see that this is only loosely a convention inforced by a majority that narrows the idea of music, as a whole is perceived. Jazz music before the forties was notably a black-American style of music, however the commercialisation and increased consumption of this style of music accompanied by the emphasis of issues such as race, class and gender has progressed into a dominantly White upper-class music style.

Are sub-cultures a sign of revolt or an expression of style?


Sub cultures within society are a group of individuals that hold different idea and values away from the so-called norms of society. The punks of the sixties shocked society with their use of explicit clothing, whom were an expression of the working classes responding to the economical issues that were faced at a particular time. It could be argued using the example of punks, that sub-cultures are both a sign of revolt against society and its values but also an expression of styles and attitudes at any given time in popular culture. The iconography of images such as Adolph Hitler and The Queen stirred rebelliousness amongst our community.Bands such as The Sex Pistols and The Ramones used this anarchistic behaviour to create attention to issues in society.

Can popular music be a genuine force for political change?

The diversity of popular music enables it to have a significant affect on the culture we live in at present. Questioning does the music we listen to motivate change within society? Notably Bob Geldofs Band Aid, drew attention to the third world and political state. The emotion portrayed through this song may have an effect on you, dependant on the type of listener you are.
Protest songs that are banned after media speculation effectively create controversy which makes people listen. However does this deal with the issue itself, does it provoke change? Live Aid drew attention to third world matter of poverty but the practices have not stimulated drastic change and millions of people are still suffering. The song identifies the issue on a commercial level but does not deal with it.

Is Digital Rights Management the best way to save the music industry?

Is Digital Rights Management (DRM) the best way to save the music industry?


The main problem that has recently sparked a cause for concern in the music industry is the ability Internet download sites such as Limewire have to attract the mass audience into illegally/freely downloading and file sharing media, which was once protected via copyright. Digital Rights Management (DRM) helps protect the copyright of the artist. Paradoxically the fight against sites such as Limewire, Winmx and Napster has help increase the circulation of music at a faster rate than a CD in sold in store. The consumer may be sampling the music free of charge and illegally but on the other hand the recording industry is allowing its consumer to effectively try before they buy. A strategy that could benefit the music industry in the long run, the main fear here would be that the consumer takes a liking to the easier sufficient way of attaining music that they may no longer see the point in going to a high street music store and purchasing their favourite music which would force the industry into uncertainty. It appears that the technological advancements in society have led to such issues and it is unclear how the music industry will progress concerning Digital Rights Management.

Can Music Ever Be Unplugged?

Can music ever be unplugged?

The term ‘Music Unplugged’ refers to music without the use and intervention of modern technology i.e. Amplifiers, computers and microphones. However would music survive without modern electronic technology, you could arguably say that the power of music without the electronic technology would not be as effective as it is with modern technology. Does the opportunity for new ways of recording and performing come inevitably with the ability music has of technologically developing? Without technology where would the future recording artist be, even live performances require the aid of technology to amplify and engage the spectator. Music is circulated by studio recording and distributed via CD, remove the technology and would this inevitably wipe out the ‘popular music’ category? Popular music, that reaches a mass audience through distribution. Without the use of technology would popular music remain? However is this the test of the musician, wiping out the fabricated remixes of Umbrella and keeping up with music as it once was.

What Is world music and Why Does It Exist?

When clarifying what we consider to be defined as world music you need to address several aspects that have taken affect on mass society including globalisation, commercialism and cultural imperialism. Underpinning how the change in dynamics has affected our society, and more specifically music industries. The term ‘world’ music can emphasise the subcultures within a nations music community, upholding a countries national identity. We often brand something worldly if it does not resemble commercial western influences or culture. It is the Non- spoken English records that highlight the music traditions of a nation such as Africa or Asia. The huge consumption of music allows if to fall under many genres and categories dependant on the consumer.

What is 'pop music'?

When analysing the term pop music the majority of us would recollect the cringe worthy one-hit wonders of recent years such as The Cheeky Girls, Mr Blobby and Bob the Builder. All of whom have released single and managed to get into the Top 10 charts. When I address pop music as a style I cant pinpoint it in any direct manner. Looking at pop acts in general as a mediated package, Justin Timberlakes, Britneys Spears and The Spice Girls are all used to sell their consumer a product of which has become popular music.
However when you address this on a larger scale and look at artists individually such as Pavarotti who in recent years has appeared in the popular music charts you begin to wonder if the term pop music is based on individual tastes and preferences of the majority, at any one time. Within each genre there are artists that reach commercial success and outsell their competitiors. Opera artists such as Katherine Jenkins and Russell Watsons are evidently proof that these sorts of artists can reach commercial success and prove popular within their genre. Particularly singer Charlotte Church has recently emerged onto the stereotypical ''pop music'' scene. Charlotte, a opera singer who received critical acclaim and merged into the field of ''pop music'' where there is focus on target market and selling music as an image based product.
The debate in that respect can fall into several topics. 1.Pop music being records that are successful in their genre (ie) Rn B, Rock and Opera that and sell as good music. 2. Those artists who are intentionally devised as a product marketed at an audience to make money.