Theories of Popular MusicTheories of Popular Music

In order to complete your Critical In order to complete your Critical Evaluation to a decent standard, it is Evaluation to a decent standard, it is important that you are able to write important that you are able to write about your product using a variety of about your product using a variety of critical (theoretical) perspectives.critical (theoretical) perspectives.

Theories of Popular MusicTheories of Popular Music

You may choose to use some, or all, You may choose to use some, or all, of these ideas throughout your of these ideas throughout your Evaluation. It is important that you Evaluation. It is important that you choose the most effective and choose the most effective and appropriate parts of the Evaluation in appropriate parts of the Evaluation in order to put them into action.order to put them into action.

It is also worth remembering that It is also worth remembering that these ideas can be adapted and these ideas can be adapted and applied to work in other areas of the applied to work in other areas of the coursecourse

The Frankfurt SchoolThe Frankfurt School

A collection of Marxist philosophers, A collection of Marxist philosophers, based in Germany in the mid 20based in Germany in the mid 20thth century. Among their many writings, century. Among their many writings, they were concerned with the role of they were concerned with the role of popular culture in exploiting the popular culture in exploiting the masses and maintaining the power of masses and maintaining the power of the bourgeoisiethe bourgeoisie

Their work, particularly that of Their work, particularly that of Theodor Adorno, represents the first Theodor Adorno, represents the first attempt to write about popular musicattempt to write about popular music

Theodor AdornoTheodor Adorno

Adorno (1903-69) argued that capitalism Adorno (1903-69) argued that capitalism fed people with the products of a 'culture fed people with the products of a 'culture industry' - the opposite of 'true' art - to industry' - the opposite of 'true' art - to keep them passively satisfied and keep them passively satisfied and politically apathetic. politically apathetic.

Adorno suggested that culture industries churn out a debased mass of unsophisticated, sentimental products which have replaced the more 'difficult' and critical art forms which might lead people to actually question social life.

Theodor AdornoTheodor Adorno

False needsFalse needs are cultivated in people by are cultivated in people by the culture industries. These are needs the culture industries. These are needs which can be both created and satisfied by which can be both created and satisfied by the capitalist system, and which replace the capitalist system, and which replace people's 'true' needs - freedom, full people's 'true' needs - freedom, full expression of human potential and expression of human potential and creativity, genuine creative happiness. creativity, genuine creative happiness.

These features are particularly true in the These features are particularly true in the popular music industry. All popular music popular music industry. All popular music products are commodities to be sold to an products are commodities to be sold to an audience who believe that they are audience who believe that they are consuming ‘true’ emotionconsuming ‘true’ emotion

Theodor AdornoTheodor Adorno

Popular music products are characterised by Popular music products are characterised by standardisationstandardisation (they are basically (they are basically formulaic and similar) and formulaic and similar) and pseudo-pseudo-individualisationindividualisation (incidental differences (incidental differences make them seem distinctive, but they're make them seem distinctive, but they're not). not).

Products of the culture industry may be Products of the culture industry may be emotional or apparently moving, but Adorno emotional or apparently moving, but Adorno sees this as cathartic - we might seek some sees this as cathartic - we might seek some comfort in a sad film or song, have a bit of a comfort in a sad film or song, have a bit of a cry, and then feel restored again. cry, and then feel restored again.

Dick HebdigeDick Hebdige

More modern theorists have tended More modern theorists have tended to view Adorno’s ideas as overly to view Adorno’s ideas as overly pessimistic and dismissive of mass pessimistic and dismissive of mass audiences as passive and easily audiences as passive and easily manipulatedmanipulated

Hebdige argues that consumption is Hebdige argues that consumption is an active process in which differences an active process in which differences in audiences’ social and ideological in audiences’ social and ideological construction lead to different readings construction lead to different readings of the same cultural productsof the same cultural products

Dick HebdigeDick Hebdige

As such, the audience are free to As such, the audience are free to resistresist the power the power of large companies by ignoring, undermining or of large companies by ignoring, undermining or finding alternative products to consume. Often finding alternative products to consume. Often this takes the form of the audience constructing this takes the form of the audience constructing themselves as distinct from mainstream culture – themselves as distinct from mainstream culture – as subculturesas subcultures

Major companies will inevitably attempt to Major companies will inevitably attempt to assimilateassimilate this resistance by attempting to this resistance by attempting to provide products which these audiences or provide products which these audiences or subcultures subcultures willwill consume consume

The audiences must then decide whether to The audiences must then decide whether to accept these products or whether to resist accept these products or whether to resist further.further.