Tuesday, March 12, 2019

Progression of music

In this literature review we will be looking at reading base nearly the idea of increase within practice of medicine. Comparisons amid different pieces of text regarding the true position of medicament, and If possible, the future of medication and how it discount progress. The main concords in discussion will consist of, Simon ReynoldsRetaining, David gantlet fashioning Is Connecting, ganglingThe Political Economy of Music. A lot of the recites that will be in discussion will revolve around the theme of punt repetition.This Is a theory regarding the structure or acquaint of stream medicine, an Idea T every briefly discusses In context with three conditi wholenessr(a) anterior stages he believes to exhaust occurred. This bidwise explains the choice to discuss Retaining, the themes from this book tie in with the concept of repetition and revolves around firm beliefs that current symphony, and similarly connection atomic number 18 trapped in the former(prenomin al). However make is connecting takes a more(prenominal) subjective role in the discussion as it is primarily base around the individual creator in the palpate of their feeling and creativity, and does non so much Involve the influence of whatever capitalist ideas.We will runner draw some theories from Tails. Draws up the comp ar of Music running alongside society, and at points beyond. In short, Tall draws the comparability in which medicament runs along side social order and how the brain of society, at any given time, is reflected onto the art of music. Not just now in the literal sense as would be applied to such eras as Punk, but in the progression of music over time. its styles and economic brass ar ahead of the rest of society because it explores, much faster than cloth reality sewer, the entire range of capabilities in a given code. (Tails,1977) here Tall is referring to music as a sped up representation of society at any given time. This is wherefore his cu rrent claim on stead repetition is interesting as any other stage or progression in music, according to Tails, could replicate that of societies in the future. The oppugn regarding this is whether it is possible for music or society, to considerably progress onto what could be seen as another stage of progression. If the idea of post-repeating is feasible, then it could be seen that society, let unaccompanied music, are currently trapped in a repeating foundation that isnt regressing, only expanding.However for the time being it is more important to look O.K. if at that place is any chance of looking forward. This is where Italys four stages of music form in Political Economy of Music, and during the last stage, the idea of post repeating is bought about. Sacrifice refers to the point in tuneful history where no rifle was recorded, scripted, and the art of music was completely detached from anything physical. It was simply Just an oral figure out. Music was simply a way of transferring current ethnical and social feelings from one person to another. RepresentingThis term refers to the archetypical printed music, 1500-1900 AD. Printed music was the original form of music that was seen as a commodity, it could be seen as the offset printing time any form of technology had an influence upon human emotion. Tall refers to this period as Representation because the performer would have to represent and gaming the music that was printed for an audience. Repeating The term repeating refers to the time period of around 1900 to the present. The term is applied by Tall to any recorded sound of broadcasted sound which was made possible by technological advancements.Even though this meant music as an industry could really excel and prophet, the first mindset of music being a commodity was established the moment it could be written and performed. However, according to Tails, the stage of repeating completely took over and made the ideas tin representation, no w irrelevant. The advent of recording thoroughly shattered representation. First call downd as a way of preserving its trace, it instead replaced it as the driving force of becomes a simulacrum of the record an audience broadly familiar with the artists recordings attends to hear a live replicationFor popular music, this as meant the drowsy death of shrimpy bands, who have been reduced to faithful imitations of recording stars. For the classical repertory, it means the jeopardy Of imposing all of the aesthetic criteria of repetition?made of rigor and frore calculation?upon representation. (Tails,1977) status Repetition The term post repetition was a term Tall briefly refers to as the next state from Repeating, this is also substantiateed up by Italys Chapter on Composing and how this new process is not undertaken for metamorphose or use value.Even though Italys theories, as closely as many other philosophers surrounding he subject, can be seen ambitious and at some times overly vague, this idea of a post repetition makes sense and would revolve around society at this moment and how we are progressing. This is wherefore it is of interest as to whether music can genuinely progress, or whether we are infinitely trapped within a post era where Italys terms of exchange time and use time, are becoming ever more irrelevant. Tall labels Exchange-Time as the time one would spend earning the spend listening to the bought item.The ideas of exchange time and use time, are now seen as words which dont bear relevance to a wide amount of current music. With the massive surge of the internet and approachingibility, the value of music has morphed, and also the intentions of the great deal making it. This new activity is NOT undertaken for its exchange or use value. It is undertaken solely for the pleasure of the person who does it (its producer). such activity involves a radical rejection of the specialized roles (composer, performer, audience) that dominated a ll previous music. Data, 1977) We will now relate this to and investigate current musical practice and the mindset of the Producer. Simon Reynolds book Retaining, and Making is connecting by David gauntlet both investigate these ideas. Retaining is written by Reynolds with belief that the progression of music is now non existent and good(a) music of the popular culture is based upon regurgitation of early(prenominal) trends/ideas/styles. We live in a society that is preoccupy with its own past, instead of moving into a new future.Reynolds does also acknowledge mostly all aspects of daily life into his theories and how our society is looking acantha instead of looking forward. Arti particulars of its immediate past, but there has never in advance been a society that is able to access the immediate past so easily and so copiously. (Reynolds, 2011) Here we see Reynolds referring to the society we are currently surrounded by, as one obsessed with its own past. He also gives appr eciation to the fact that we live in a world where mode phenomenons, such as the internet and media , give society the power to access the immediate past so easily and freely.This is key to part of the reason out as to why Reynolds believes as a whole that we are invigoration in a Retraining, a world that is looking rearwards instead of forwards. It is a pretty indisputable fact, that due to the surge of technology and the lily advantages in our life, we have access to the things we never would have had before. However Reynolds follows up on this point, putting the obsession of the past, into the reasoning that it is because we are desirous and around envious of it. Is nostalgia stopping our cultures ability to surge forward, or are we nostalgic precisely because our culture has stop moving forward and so we needs look back to more momentous and dynamic times? (Reynolds, 2011) stopped moving forward in general, whether or not he is decision reason through nostalgia. A lot o f Reynolds beliefs come through in forms of musical practices such s sampling, covering artists, anniversary concerts, greatest hits albums, generally repetitive process. We live in a pop age gone(a) loco for retro and crazy commemoration (Reynolds,2011) Could it be that the greatest peril to the future of music culture is its past. (Reynolds, 2011) These are quotes from the very first page of the introduction and sum up his beliefs straight away. He goes as far to say that the end of pop culture will not come with one big bang, but it is through a gradual process which we are already living in. This is the way that pop ends, not with a BANG but with a box set whose pity disc you never get around to playing. Reynolds, 2011) He then, curtly after, puts the reasoning upon the producer The very people you wouldve once expected to produce (as artists) or champion (as consumers) the non-traditional and the groundbreaking thats The avian-grade is now an airre-grade. (Reynolds, 2011) These quotes are characterisation the modern producer as the fundamental reason as to why music isnt progressing. This, to Reynolds, could be seen as an environmental issue due to the fact our society is constantly exploring the past and repeating itself.He described the process of the modern producer as airier-grade meaning it is the producer themselves who are trapped in the past. However, as previously mentioned, a lot of the reasoning as to why we may be living in a culture where we are looking back, is due to the fact we can. Technology and the way we have advanced as a culture has changed us to store huge amounts of digital artifacts through mediums such as pods, computers, phones, sound-systems, cads, records, the internet.We can also meet music and media in ways like never before stereo 51, 3-D image/sound, and not to mention all the ways in which to do so prior to these. To Reynolds, the abilities to store and look back, are what we have become victim to. Weve become vic tims of our ever-increasing capacity to store, organism, instantly access, and share spacious amounts of cultural data. Not only has there immediate past, but there has never before been a society that is able to access the past so easily and so copiously. Reynolds, 2011) This quote is mainly focused on the fact we are able to easily access, store, share data like never before. However Reynolds does use the phrase, weve become, this could suggest that our access to all this data as only become a robber of novel time. Reynolds never seems to really pick at the upraise of vinyl, tape, or the initial upraise of cads. The start of the sasss is when he believes our modern culture and popular music industry lost all forward thinking and started seeking past ideas and past trends. Instead of being the threshold to the future, the first ten eld of the twenty-first century turned out to be the Re Decade. (Reynolds, 2011) Here this quote describes the start of the sasss, as being the star t of a retro hug drug instead of being the start of new original ideas. Perhaps the first time popular culture fully good lucked its attention to the past. This brings up the apparent motion as to whether technological advancements such as Amps, I Pods and the mass fruit of file-sharing are the reason as to why we are so soppy and look back for inspiration in modern music practice.Or is it more to do with the producer, rather than the ways of consumption. Has the person creating and making the stuff lost the will to look forward If Italys point of musics styles and economic judicature, being ahead of the rest of society then then what would be the outcome of the sasss Re-decade as Reynolds dubbed it? Could that be the point our society has truly reached a form of creative standardization. Where new ideas and creative instinct is solely based upon repetition of past ideas.This could be what Tall wouldve been suggesting through the idea of Post Repetition. There is no forward m ovement in the progression of music as an art anymore, only the ways in which we experience it. However back to the point of the producer, Making is connecting, written by David gantlet investigates the process of creativity and can be related to how this has an effect on current musical practices and the position of popular culture on modern music and inevitably the question of progression. Making is connecting is fundamentally about how people make things to engage with the world around them, and build connections with others through this process. Gauntlet believes that due to the benefits of popular culture in terms of the internet, file sharing, and platforms that enable people to share their creative work, we are seeing a shift in mentality. Gauntlet describes this as a shift from a Sit back and be told culture, to a making and doing culture. (Gauntlet 2009)

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