IS THE AUDIENCE FOR POPULAR MUSIC CREATED BY THE MUSIC INDUSTRY?

The music industry is riddled with stereotypes and things that appear to be popular, these are only popular as they are the only option. If one is willing to search for difference then the audience wont be created by the music industry but perhaps influenced by it. Radio is used to show what the music industry wants us to hear, music stations based around heavier music such as Kerrang! radio are now playing softer more indie music as this is what is currently "popular", Adorno's theory of standardisation fits in well, the music that is popular is heavily standardised, with recurring beats, notes and lyrics. Audiences appear to be passive just accepting what is offered to them. Without a music industry however there wouldn't be an audience as there would be no music available to purchase and listen to, therefore the music industry does create the audience.

Magazine review - mixmag

Are you into a pounding bass and electro lights? then mixmag is the magazine for you! Are you a crazy raver, or into nu-rave cyber punk than this could be right down your alley, this magazine doesn't just focus on one style of music, but there's the option to get a flavour of others that may tease your music taste buds, this is helped with the free CD offering the chance to satisfy your musical needs. Aimed at 18-30 year olds it offers a range of interests from recorded music to live immense gigs to what you may want to wear on the night, making this magazine not just for one specific gender. Wondering about the latest technology? wonder no more there are reviews on the latest bits and bobs that may be intriguing your pockets. What more do you want then a chatty relaxed vibe in the style of writing, you can read whilst you chillax.

Are blackness and whiteness useful concepts in the study of popular music?

Blackness and whiteness are useful concepts to a certain degree, this may include the classification of music in the early 20th century; it may also be useful in advertising strategies to pull in certain audiences. Other than that the classifications are irrelevant or only play a small role. The developments in technology and the vast differences in subcultures means that there are more distinctions based around genres rather than race. Styles are borrowed, fusing together other styles and cultures, this may lead to blurred distinctions. People don't tend to stick to one style of music alone. Blackness and whiteness cannot explain the other cultural music genres such as Bhangra. Class and location are more socially relevant in current times in such a multicultural society. Barry Shanks suggests that in every case, within every popular music genre, crossover exceptions to the typical racial identification exist; for in the very vibrations of its being, music doesn't know race.

Can popular music achieve genuine political change?

Audiences try to convince themselves that they are not passive and that they consciously select what they take from music. Street suggests that in the west, the political right has been terrified that popular music will undermine capitalism, family life and traditional values. He also suggests that musicians from left to right have used political music as a vehicle for their politics. The truthfulness of the artists through their lyrics may influence the views of the listeners away from the lies of the politicians. Any form of art is expression, any form of politics is manipulation. Working for large scale capitalist companies, (rather than being hypocritical) allows artists to spread their views globally without being penalised for their opinions. Even though music can achieve political change it has yet to prove it on a large scale rather than small economic achievements such as live aids help in Africa.

Does the emergence of the digital download signal the end of the music industry?

The emergence of digital download doesn't signal the end for the music industry, but more of a change. CD sales are still peaking with artists such as Lady Gaga achieving diamond on her latest album. CD's and even vinyl's are often purchased for the cover art, and also as collector items. What people don't spend on CD's and recorded music, they are saving and spending on attending live gigs and festivals, giving them a chance to see an array of musical talent they would and wouldn't normally listen to, these live music events lead to a sense of comradeship amongst the attendees, all there to see the music they love. Downloading music and free listening sites such as Spotify allows people to sample music they are interested in at the current times, if a person likes more than one of an artists songs they may then purchase the recorded music.

What is world music, and what are the functions of it?

World music is the bringing together of local (national) and global (international) music. Everything in the world appears to be interconnected, world music may therefore be seen as a hybrid taking on various characteristics, including those of local and global styles. World music should be there to bring together and merge different talents, sounds and cultures. The main issue with world music seems to be the power relations behind it; which record company owns who? are the artists selling well? do they have a high revenue? rather than how enjoyable or well produced the music is. The function of world music is there to challenge the power relations offering people new sounds and experiences. Jocelyne Guilbault suggests that if we want to fully understand world music, we must look at its place within the complex and constantly changing dynamic of a world which is historically, socially and spatially interconnected.

Is popular music a mass produced commodity or a genuine art form?

Popular music is a mass produced commodity, Adorno suggests that when there is a successful song, hundreds of others spring up imitating the successful one, the first version is therefore commodified for mass production and a money making scheme. The genuine art within popular music is only applicable to the song writer as this shows a talent, being able to sing a tune or dance along while singing is not an art form. Adorno suggests that it is exploited to commercial exhaustion, culminating in 'the crystallization of standards'. The standardization of music creates the illusion of the individual, people feel invigorated by the music they listen to and see themselves as different and individual whereas they are just succumbing to the popular. People may view their own tastes in music as an artistic taste, but some people aren't to bothered if theirs is seen as art or not as long as they enjoy what they listen to.