The Study of Aesthetics in Relation to Music Has Become Somewhat Obsolete - Essay Example

The new aesthetic paradigm basically relates to the product of the modern network culture. It is digital and born on the internet (Bridle, 2011). It is generally intelligent and it is diffuse and includes different smaller pieces which are loosely connected with each other. It is a collaborative desire to cover different elements of aesthetic activity, including music, painting, dance, sculpting, photography, and glitch imagery (Bridle, 2011). One of the major contributors to the idea of the new aesthetic has been seen in the establishment of the way in which digital activities and daily activities are gradually connecting with each other.

The new aesthetic also secures a starting point in the assessment of Marx’s theories of machines (Sterling, 2012). It shifts from earlier discussions on machine labour being an extension of human actions, in the end, eliminating human barriers which are seen in designers and those who follow these designs. The New Aesthetic indicates a change in production different from Marx’s perspectives. As machines are dependent on human control according to Marx, those seen in the New Aesthetic work eliminate the human element (Bridle, 2011).

They consider digitalization and eliminate the human labour involved in the production elements. The current music programs in the US are fashioned to secure teachers and to train music professionals in the Western music classical elements. Such education paradigms are however being slowly eroded, mostly because of their inflexibility to the changes in society and in the music industry. As such, music programs are trapped in the outdated band choir era and in the orchestra models which appeal only to the older generation (Vitale, 2012).

Such paradigms also do not invite other song and genre choices which are actually the more popular choices among the greater youth population. Popular music is not represented in the music education programs, and as a result, most of the materials which the teachers and students work with are irrelevant. The public and private sector teaching posts have decreased in terms of music teachers and musicians, including audience numbers (Abril and Gault, 2008).