The plague known as the modern political news cycle has infected all realms of life, including (and certainly not limited to) Western Art Music. As world leaders gather at the G-20 summit, organized by its leader, Angela Merkel- who selected a performance of Beethoven’s 9th Symphony be added to the itinerary. The reason for this selection may be its interpretation as a piece of unity and hope, but one thing is certain, it highlights the contemporary ignorance of WAM.
On a Friday evening, a few days after the start of the G20 summit, world leaders took their seats in the Elbphilharmonie in Holland to indulge in a performance of Beethoven’s 9th Symphony. Although it was a splendid performance, the true spectacle was outside the confines of
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Since 2006, twitter has evolved into
As tiny hands create 140 character messages
At its base, the term “social” has experienced a fundamental change from the limited face-to-face interaction between several humans to becoming synonymous with the widespread and superficial dissemination of information to a large audience. • Twitter as a platform and loud speaker to the high-class laymen
• Trump as a leader with particular knowledge of WAM
• WAM impacts/influence/use- not only commodified, but manipulated
• Audience- world leaders, unlike the audiences of early opera (a real opera) have less knowledge and certainly much less music education.
• WAM ignorance in 21st century, terms grouped together as “high-class entertainment”, necessary to pretend to appreciate music for sake of culture
• Music from strictly for “educated” elite in social settings > elite for entertainment > rising bourgeoisie in part to assert status > status pieces for social
On Wednesday, June 14, 2017, I had the pleasure of watching the Chicago Symphony Orchestra perform Symphony No. 9 in D minor, Opus 125 by Ludwig Van Beethoven. The original performance was recorded and put on YouTube, May 7, 2015, in honor of its first premier 191 years before when Beethoven decided to share his 9th Symphony with the world even though he couldn’t hear it himself. The symphonic masterpiece was recorded at the beautiful Symphony Center Orchestra Hall in Chicago and conducted by Riccardo Muti. The performance was completely deserving of selling out every single seat for one hour and twenty-two minutes. In fact, the musicians did not disappoint, Stephen Williamson was in the first clarinet chair, alongside colleagues Mathieu
I was impressed by the range of the pieces that were performed as they were from 18th century classical symphony arrangements to contemporary techno pieces. However, the pieces that moved me most were Mozart’s Molto Allegro, Oaken Sky by Chris Rogerson and Beethoven’s Symphony No. 5. In hindsight, I am surprised that the two pieces from the Classical Era had such an impact on me. Perhaps, “classical” pieces were what I expected to hear at a Symphony. Oaken Sky evoked the most imagery for me and the conductor’s introduction of the piece was perhaps partly responsible for my ability to go from the earth to the sky in my mind’s eye. Oaken Sky was definitely a pleasant surprise and very pleasing to all of my senses. I was fully engaged in body, mind and soul with Rogerson’s composition. Cielito Lindo was interesting and the soloist really enhanced the piece with a stellar performance. Warehouse Medicine caused an incongruent stirring in me; perhaps I was not prepared for electronics to be added to the symphony. Ravel’s composition, Le Tombeau de Couperin, was a moving piece, but did not engage my senses, only my intellect. This work essentially left me feeling confused and although I appreciated the description of the dedication of the work by the composer, this was my least favorite piece. The “CPCC” soloist, Juan Caljero’s, rendition of Cileito Lindo was mesmerizing. Charlotte
“If a great musician plays great music but no one hears it, was he really any good?” (Weingarten, 2007) as Weingarten says in his article ‘Pearls before Breakfast’. An unbiased opinion described well within the narrations of the article allow the reader to understand the situation from various point of views and also recognize the reality regarding priorities of our current generation relating to beauty and art.
Composers have the ability to use their texts as an effective medium to provide insight into controversial issues. This gives them great power to share stories and opinions that can influence audience’s perspectives. The use of distinctively visual techniques in John Misto’s Shoe-Horn Sonata and Joe Rosenthal’s “Raising of the flag on Iwo Jima “gives the ability for both composers to contrast the issues that were faced in World War II. Misto’s text provides a dark perspective which presents the hardship of war through the story of two captured female nurses. This is contrasted with Rosenthal’s text which challenges the audience by idealising the heroism and teamwork associated with war through an iconic photograph.
In this essay I intend to explore what is meant by the terms popular culture and high culture. I will also look at how the relationship between these two terms has become distorted and blurred over time. In order to reinforce what I am saying about popular and high culture I will be using a range of examples from the music industry to show how the line between high culture and popular culture has become ambiguous. I will also call upon the work of John Storey to give my work an academic foundation. Although Storey is the main academic I will be looking at, I will also include references to a number of other academics who have written about popular culture and high culture.
The drastic socio-cultural changes that occurred following World War II in all participating and surrounding countries led to the rise in ‘pop culture’. An important aspect of pop culture is popular music of the age. Although the concept of music as a consumer product was already emerging by the 15th century, with musical eras like Renaissance, Baroque and Romantic coming and going over the centuries, it was not until after World War II that musical styles began to expand and change much more quickly than ever before. Each decade from the 1950s is widely known to the general population as having its own distinct style of popular music. Thus, the characteristics associated with members of these generations, or social groups, including the type of music preferred by members of the ingroups, could be considered a demonstration of social identity theory.
Social media is the current fad and has been increasing over the past three decades. Today’s generation is all about who is on Facebook, Twitter, or Intagram, but what they are forgetting is who is actually sitting right beside them. At any given location, one can find several people sitting together at a table in a restaurant. What they see is different from decades before. People are not talking to each other instead they are on social media sites “talking” to someone else, maybe even in another country. That is the problem. People have lost the ability to be social among people in face to face interactions. There are two theories, Structural Functionalism and Symbolic Interaction, that can help
The essay I read suggested that people of low intelligence/class (i.e. teenagers) use “junk” music to try and drown out their supposedly harsh reality. The author also suggests that the more intelligent people in the world do not listen to loud music because the decibel level at which you listen to music somehow indicates your intelligence. I cannot agree with that statement because I have talked to my friends and aquaintences and they told me that music helps to lift their spirits and some even said that music helps them to cope with their reality. In addition, studies have shown that some people who listen to music while they study actually do better on the test the next day, because the music relaxes them. In the aforementioned essay, the author also mentions the “two slack-jawed young assistants.” This was quite obviously stating that the repairmen were of lower social standing, and that the “junk” music they were “blasting” was emphasizing their low class.
Just asover time media has shifted from an oral and written era, to the print revolution, electronic era,and the digital era. People especially my age, aren’t necessarily interested in going to things likethe ballet or reading hamlet. I don’t think that if you enjoy the things at the bottom of theSkyscraper that that means you don’t have “good taste”, or that you are not wealthy, oreducated. The things that are considered “high culture” are not things that only people of a richbackground can enjoy. In some cases, people may not be able to afford things like the ballet,but are still enjoy things that are considered “high” culture.Even today some of the high culture portions of the skyscraper are not acknowledged bypeople as much as they used to be. A good way to look at the culture of our society is throughpopular culture. The popular culture of our society offers insight into people lives such as,
Steven, Kelly, N. (2002). A Sociological Basis For Music Education. International Journal of Music Education. 43. Pp. 40-49
Popular music is popular afresh, and it’s everywhere. Whether it’s the idols, the stars, the competitors or the academy, the burst music industry has not ever flaunted itself to such a large extent. But how can we mark burst music? Where is its place? Many would contend that it pertains sorely littered over the levels of teenager’s bedrooms worldwide. Others would state it is most at home recorded on the bank balance of a foremost multinational organisation. An allotment of persons would assert that burst music has no home, and is just a fad commended by the culturally inept, those who are only adept of enjoying a pre-formatted, formulaic merchandise of the ‘culture industry’. Or is it infects a varied and creative occurrence, permitting a communally and culturally wealthy expression? Maybe burst music will not ever be ‘pigeon holed’ as such, but I wish to recognise the contentions surrounding popular music and work out its location inside popular culture and inside up to date society (Shanahan 2001).
It is clear that music shaped the social climate and the social climate shaped music. By analyzing the musical meaning of the songs of the time period, one can gain insight into the postwar era society. The music of the post war era helped establish a generation gap and ultimately was a precursor for the civil revolution of the sixties. Given the gravity of the social changes inspired by music, it is evident that musical meaning plays a vital role in shaping culture.
After attending both a “popular” and “classical” musical concert it is easy to see the differences between these two genres of music. While attending these events, I noticed a wide variety of differences including the music being played, the atmosphere, the number of people attending and the expectations of the audience during the performance. As we talked about in Turino’s “Music as Social Life” earlier this semester both of the performances were presentational, placing a divide between the performer and the audience (Turino). In this essay, I will discuss my experiences at the performances, analyze a specific piece from each of the concert’s, identify musical elements within the piece and assess the role of the music in society. While both
Social media is used by many people, young and old around the world as a way to communicate. Our lives have become so busy that it is difficult to maintain family and social relationships. “They use social networking sites including Facebook, Twitter, LinkedIn, etc. On these sites users create profiles, communicate with friends and strangers, do research and share thoughts, photos, music, links and more” (Social Networking). With the use of social media you can be friends with all sorts of people without actually seeing or knowing them. “In many ways, social communities are the virtual equivalent of meeting at the general store or at church socials to exchange news and get updated on friends and families” (Cosmato).
The story of subcultures in and through modern music has to start in the 1920’s America. In the wake of prohibition, popular nightclubs were closing down and music fell by the wayside. However, a strong underground scene reared its head during that time as well. Well-dressed men and flapper girls swarmed speakeasies in search of music, liquor and a good time. Mainstream America looked down on these rebels. They were often thought of as no good young people with loose morals and no respect for authority. Little did mainstream America know, however, exactly how important those few rebels were during the roaring Twenties and how their actions helped mold musical societies for the rest of the millennium.