The Theory of Political Economy to Music - Term Paper Example

Mass Culture and Society and Responses to Popular Music Introduction The use of music in society is one that is designed to provide expression of thecultural concepts. However, the communications that are often used are not only based on the concepts of expression and artistic works. Instead, they lead into a commercialization for the masses which is based on being able to sell more for different types of individuals. In current assessments of the music industry and the Top 20, it can be seen that the commercialized aspects of music are taking over the expression and art that is a part of music. The sound of the music, genres and the visual displays that are used all incorporate a cultural and social aspect that is accepted by society. The newer pop and rock music that is being included in each genre, as well as from the Big 6 music corporations, are specifically leading many to have a commercialized expression that will always sell within the genre. The music is becoming a superstructure of what sells, as opposed to providing genuine music. Analysis of the Top 20 When looking at the different aspects of the top 20, it can be seen that commercialization has taken over the different genres, as opposed to independent artists and variety. The top 20 on itunes included mostly pop and hip hop music, with only one country song and one alternative rock song. The genres continued with the Big 6 having several smaller branches that were sponsoring the artists, as opposed to a larger corporation. However, none of the artists were independent and all were signed to a contact with the Big 6. The same trend was seen at the Last FM site. Most of the artists were in the genre of dance and pop music. The majority of the artists were also signed over to the Big 6 or a branch of the larger corporations. In the Last FM component, there were more rock and alternative sounds with two to three Indie musicians that were mixed in with the others of this genre. However, Last FM also had several of the same artists playing with different songs for a similar affect. From the two areas of Top 20 that were analyzed, several assumptions could be made. The first is that specific genres, such as pop and hip – hop, are the most popular in society on a global level. The second is that the Big 6 are continuing to create a mass response to what individuals are demanding in society. It can also be assumed, from this analysis, that specific musicians are more popular than others and are instantly hitting the Top 20 on a global level, which shows a mass response to cultural icons and artists that are being promoted by the Big 6. Marxist Thought and the Big 6 Trends The concepts of Marx can easily be intertwined with the Big 6 and the way that the corporation works. Karl Marx was able to identify the different ways in which society functioned, which he divided into two components. The first that Marx used was known as the base, which was defined by the relations to production. The employee to employer work conditions were the base of a corporation and were divided by the tasks that one had to accomplish and the way that the communication worked between the employer and employee. The relationships that are produced by the employer and employee not only provide the internal structure of the company. Each of the interactions that occur within the workplace moves into a superstructure. The superstructure is the determination by society over the corporation. Social, cultural and ideological influences all create the superstructure and will ultimately influence the base of the corporation. The base and the superstructure are then intertwined with the other to create a specific relationship and function within the role of the corporation (Calhoun, 17, 2002). The concepts that apply to the base and superstructure as incorporated by Marx then moves into the corporate family tree that is defined by the Big 6 and the corporations that are intertwined with music. The infrastructure that is in each of the music companies is divided first by the different concepts that are needed to make and promote the music. Brands and trademarks of the artists, production, manufacturing and distribution of the CDs and marketing and promotions of the artists are all incorporated into the family tree. For each of the artists to become effective, the marketing has to work with the production of the music, as well as the distribution areas. Since each is required to work with the other, it is important that there is an understanding of what will sell within the media, as well as what will be ineffective. If it is seen that an artist as a trademark will not sell to the public by the marketing company, then the image is altered to fit with the outside societal acceptance of the artist and what is needed for the success of the artist. The corporate family tree that is a part of the Big 6 is one that is able to prove the concept of the base and the superstructure that Karl Marx asserts in his theories. When looking at the model for marketing of media, there are intertwined factors that are a part of the corporate structure. To define what is needed within the base, or the infrastructure, the public sphere first has to be analyzed. Ultimately, it is what the public space states and demands from an artist, expression and music which create the base and the relationship from the artist to the finished product of the CD. “The media are defined as central elements of a healthy public sphere – the ‘space’ within which ideas, opinions, and views freely circulate. Here, rather than profits, it is the more elusive ‘public interest’ that serves as the yardstick against which media performance is measured…. The media, for the most part, are made up of commercial, profit seeking businesses” (Croteau, Hoynes, pg 16, 2006). The profit of a company, such as the Big 6, is one that is reflective of the public interest and the way it responds. The way that the media companies work show that the theories of Marx are proven and are strictly related to the way that the larger entertainment corporations are working with the public to provide something that they are interested in listening to. Even though there are specific components that are related to the Big 6, there are also some exceptions that can be seen in society; however, these are usually marginalized and become insignificant toward popular culture. The main concept that is used is the theory of otherness. The particular otherness that is created is one that moves outside of the expectations of popular culture and what is expected with a TV show, media or entertainment. For instance, producing an alternative sound for music, not remaining in the traditional vein of what the public wants and looking at other forms of expression that are not dictated by the market trends are all considered forms of otherness. Typically, these move outside of the mainstream of society and go against what is expected from others within society. The concept of otherness is able to become a representation of the marginalized parts of society, unaccepted arenas of cultural concepts and relates specifically to providing a voice to minorities that are in the community. However, for this to work, there has to be a significant and relevant relationship to society and the expectations that are included within this (Kelly, 4, 2009). Even though the forms of otherness are not a part of society and what is accepted in the media, they are still significant to what Marx states and the way that he relates to society. The specific reasoning behind otherness is to take out the market trends and the superstructure that is a part of society. Most forms of otherness in the media reflect directly on societal issues and cultural concepts, as opposed to the popular trends. However, it is moving against the superstructure, as opposed to working with it, that creates the same outcome as popular culture. The base that is formed is one that is created by questioning what society and culture don’t expect, as opposed to what they want. From this viewpoint, the concepts of Marx are still intact and making an effect on the way that media represents different concepts. For instance, in Kelly’s research on The Wire, she states that the producers had to think about how they would go against the expectations of society and culture. The result was to work with racial diversity and a crew that differed from the traditional types of shows. Even though the producers were using the base as their own representation of expression, they purposely did so by finding what the culture would not expect. By focusing on moving against the superstructure, as opposed to what was expected, the show was able to create a different type of tension, controversy and was able to eliminate the popular expectations of TV. Whether one is moving toward or against the base or superstructure, there is always an element of what is needed for the representation and expression of media. The cultural and social expectations that are included in this either depict what is wanted or move against the expectations and into marginalized areas of identity. However, the marginalization is still depicted by a superstructure, which moves within the base to create a different outcome. According to Marx, the base and superstructure are able to make the complete relationship between a corporation and society. In the media, it is the several layers of the family tree that create the relationship and demands that are inclusive of society and the expectations that one holds. Frankfurt School of Thought The Big 6 and the use of media for customer demands move into more demands and expectations that are within society. According to the Frankfurt School of thought, commercial products are homogenous and predictable. The idealism that was created around this was based around popular culture and stated that society was predictable in their actions, sociology and responses to different forms of expression. The concept of culture and the mass society in which individuals lived in was further designed to create a progressive evolution in which all individuals had the same evolution and upbringing through different areas of life. Instead of having a sense of culture through the concept of growth, diversity and identity, each individual was a part of mass culture that was expected to act and live in a specific manner (Robyns, 92, 1995). The homogeneous and predictable concepts that are a part of the Frankfurt School are said to control the masses because only one thought process is used. As the masses become predictable, corporations and media can respond to what is demanded by the masses. As this continues, the masses become even more refined with homogenous behavior, as opposed to identity. The corporations are then able to control the identity of the masses, which allows them to predict the behaviors, desires and requirements of the individuals and the masses. For instance, with entertainment, the corporations can predict what the masses want. They can then produce sets of artists and commercial products that only have one expression. As this is done, the behaviors of the individuals change to comply with what the media produces. The entertainment companies are able to do this through deconstructing the requirements in the media, then creating a text in which the masses will easily respond to and which they will begin to believe that they enjoy. The concept that the Frankfurt School refers to is similar to semiology, in which communication and the interpretations by individuals is controlled by deconstructing and interpreting what is expected through the masses (Long, Wall, 47, 2009). The concepts of the Frankfurt School can be agreed with through the theories and the approach to music and media. When looking at the several genres and the responses that individuals have, it can be seen that it turns into a popular culture. The demands that are a part of this are not questioned and are not altered. Instead, each of the individuals turns into a subconscious thought process that begins to accept the different media and the messages that are included in this. The longer that this is done, specifically by the Big 6, the easier it is to control the market, expectations and the responses that come from the different individuals. The mass and popular culture is one that is now seen as one that holds one identity. Each of the individuals that listen to the music or other forms of media do not have variety or other forms that compliment what is being listened to. One of the ways that the Frankfurt School can be seen with the concepts of mass identity is through the predictability in each genre. When listening to each of the pieces of music, the same instrumentation and arrangements are used. It can also be expected to have the same rhythm and beat for each genre. For instance, when listening to the top 20 pop songs, the dance rhythms remained at a faster pace with the beat being lower and faster. The implication of this was for dance; however, the different songs didn’t alter with the specific sound. The similarities in genre also include the way that the music is sung and the features of the voice. In the newer songs, specifically with the Top 20, the women and the men sing in a lower range and are heard moving at a faster pace. It can also be expected that the lyrics will repeat with a chorus which is strung together with different verses. Breaks in the song in between these different forms will also be heard in between each genre. When moving into alternative forms, such as R&B, the break may slightly differ in instrumentation and the way that the music is heard in each of the genres. While the sound and the overall feel of each of the songs are similar, there are slight differences in each of the genres. When staying inside the genre, a specific sound will be expected. However, different genres will work toward creating a different and unique sound. For instance, when listening to country, as opposed to R&B, there will be a difference in the instrumentation that is used. The sound of the electric guitar and the drums in country will have a ‘twang,’ as opposed to the faster, rhythmic beat. The sound of the rhythm will also slightly differ with the pace that each of the genres are moving at. Each of the differences are able to create a diverse sound between genres, content and the way that each of the songs are listened to as a part of the cultural aspects of each genre. The differences that are a part of each of the genres then create a questioning with the Frankfurt School of thought. From one side, there is an understanding that the idea of homogeneity and predictability are the form of mass culture. However, when moving in between different genres, it can be heard that the culture, identity and the value of the specific types of music instantly differ. The sound, rhythmic pace and the content all create a different understanding of what is being heard as well as what is accepted within the genre. Each genre also carries specific identities with the visualization and the artistic performance that is attached to the music. When looking at these aspects, it can be assumed that the Frankfurt School of thought is unable to work toward one identity that is a part of mass culture. Instead, smaller groups of individuals that carry a marginalized identity are able to associate with one type of music that has a different feel and sound. While there are differences between genres, an alternative perspective and assessment can provide the opposing viewpoint to the Frankfurt School. When listening to one genre, such as pop, the arrangements, voices and the content is all the same. In this instance, it can be assumed that the Frankfurt School is correct in assessing that there is homogeneity as a part of the culture. In different musical genres of the past, there was not a specific sound, arrangement or movement of the rhythmic patterns that were included in the music. Instead, artistic expression was more individualistic and had differences dependent on the solo artist and band. However, when listening to the Top 20 today, all of the artists within one genre sound the same and do not carry the same expressions. Inside each of the genres, the content and the musical understanding remains the same without variation between songs. Similar to the Frankfurt School, is the evaluation that the different genres are able to comply and control segments of populations with the similarities that are in between genres. Another way that the Frankfurt School of thought is applied to the genres that are within popular culture is by looking at the Top 20. Even though there is some variety with the alternative rock, independent bands and the country music, the majority of the musical taste is the same. The Top 10 that come from itunes, for example, do not move out of the range of hip hop, R&B and rap. Even though some are formed closely to dance, while others have a slower beat, they all have similar instrumentation, content and arrangements. When looking at this, it can be assumed that the majority of the population is a part of the mass consciousness that only holds one identity. It is only a group of marginalized individuals that are able to look at the other top songs and identify with genres outside of hip hop and R&B. As the music continues to change with the top 20, the same assessment can be made. The diversity that used to be a part of the cultural and social aspects of music and media are now becoming more controlled and limited with taste and popularity, showing that the Frankfurt School is correct in the assessment of one identity for the mass culture. Conclusion The concept of the Big 6 and the way that they respond to society is one that is based specifically on the implications of the markets and the demands that are a part of this. Instead of creating a form of expression, the Big 6 has moved into specific understandings that are related to the market and the demands that are within society. When looking at the implications of commercial media, it can be seen that expression and artistry are gone. Instead, there is a specific relationship to the Big 6 and the commercialization that is a part of music. More importantly, the music that is being given to society as a part of the demand is partly controlled by the Big 6. The similarities in genres, sounds that are a part of this and the way that most respond to one genre shows that there is homogeneity and a specific identity toward the music. While there are some that are expressing a marginalization of the popular culture, this remains ineffective to the main stream music and the one identity that is placing specific demands on how the masses respond to music. References Calhoun, Craig. (2002). Dictionary of the Social Sciences. London: Oxford University Press. Croteau, David, William Hoynes. (2006). The Business of Media. California: Pine Forge Press. Kelly, Lisa. (2009). Casting the Wire: Complicating Notions of Performance, Authenticity, and Otherness. Long, Paul, Tim Wall. (2009). Media Studies: Texts, Production and Context. London: Pearson Education. Robyns, Clem. (1995). Defending the National Identity. Berlin: Erich Schmidt. Appendix A Number Name of Song / Band Ownership Commercial Genre 1 – itunes Not Afraid – Eminem Aftermath Records Rap / Hip Hop 2 – itunes OMG – Usher Sony Music R&B / Soul 3 - itunes Airplanes – B.o.B WEA Int. Hip Hop / Rap 4 – itunes Your Love is My Drug – Kesha Sony Music Pop 5 – itunes Break Your Heart – Taio Cruz Universal Records Pop 6 – itunes Eenie Meenie – Sean Kingston and Justin Bieber Sony Music Pop 7 – itunes Young Forever – Jay –Z Warner Hip hop / rap 8 – itunes Nothin’ on you – B.o.B WEA Int. Hip hop / rap 9 – I tunes Hey, Soul Sister – Train Sony Music Pop 10 – I tunes Need You Now – Lady Antebellum Capitol Records Country 11 – itunes Alejandro – Lady Gaga Interscope records Pop 12 – itunes Rude Boy – Rihanna Island Def Jam Pop 13 – I tunes I Made It – Kevin Rudolf Cash Money Pop 14 – itunes In My Head – Jason Drulo Warner Pop 15 – itunes Breakeven – The Script Sony Rock 16 – itunes Solo – Iyaz Reprise Pop 17 – itunes Bulletproof – La Roux Polydor Dance 18 – itunes Baby – Justin Beiber and Ludacris Island Def Jam Pop 19 – itunes My Chick Bad – Ludacris DTP Records Hip Hop / Rap 20 – itunes Telephone – Lady Gaga and Beyonce Interscope Pop 1 – Last FM Lady Gaga – Bad Romance Interscope Pop 2 – Last FM MGMT – Kids Columbia New Wave 3 – Last FM Lady Gaga – Poker Face Interscope Pop 4 – Last FM Kesha – Tik Tok RCA Pop / Dance 5 – Last FM The xx – Crystalized Indie / Alternative 6 – Last FM Owl City – Fireflies Universal republic Pop rock 7 – Last FM Lady Gaga – Paparazzi Interscope Pop 8 – Last FM The xx - Islands Indie / Alternative 9 – Last FM MGMT – Time to Pretend Columbia New Wave 10 – Last FM Kings of Leon – Sex on Fire Sony Music Alternative Rock 11 – Last FM Muse – Uprising Warner Alternative Rock 12 – Last FM Lady Gaga – Alejandro Interscope Pop 13 – Last FM Lady Gaga – Telephone Interscope Pop 14 – Last FM Kings of Leon – Use Somebody Sony Music Alternative Rock 15 – Last FM Rihanna – Rude Boy Columbia R&B 16 – Last FM Phoenix – 1901 V2 Alternative rock 17 – Last FM Muse – Supermassive Black Hole Warner Alternative rock 18 – Last FM Muse – Undisclosed Desires Warner Alternative Rock 19 – Last FM MGMT – Electric Feel Columbia New Wave 20 – Last FM The xx - VCR Indie / Alternative Read More