Week 5 - Can popular music really ever be unplugged?

P. Thelberge says that ‘without electronic technology – popular music in the 21st Century is unthinkable.
I agree with this statement to some degree as the only music that could strictly be produced without any technology at all is with the voice or the human body itself. It is hard to say whether this kind of music could ever be popular in modern society when we are so used to advanced and fancy music produced by technology e.g. instruments, computers.
However, it can also be said that some aspects of it do make it into popular music e.g. beatboxing, clicking and whistling.
Without technology though (particularly electronic), it would be hard to distribute music to a large audience, meaning it would be difficult to make it ‘popular’.
But we can argue that there is still a market for music ‘unplugged’ from electronic technology e.g. acoustic versions of songs, live band etc. Also, we now see many pop acts use gospel choirs as back up singers for a grand effect.
We can also consider the times when there was no electricity; people still created and enjoyed music. For example, folk music was passed on from generations through word of mouth.
In conclusion, I feel that popular music could be electronically unplugged but may not be as successful or required as we are a society that has grown so accustomed to technology.

Week 4 – What is world music and why does it exist?

The term ‘world music’ is often applied to music which comes from areas outside the normal Anglo-American source and mainly from tropical countries. World music is well known for its use of rhythm, so the term is also often associated with music from Africa, which rhythm is essential to. It is a term that is frequently used to label music that does not coincide with popular Anglo-American music e.g. traditional music, music with little technology or music that is not in English. It could be said that world music is the product of distressed populations and from disadvantaged population groups. Some would argue that world music is the result of cultural imperialism and that it exists because it has been constructed as a genre in opposition to Anglo-American pop music. It is ironic that ‘world’ music represents such a small subculture in global popular music, with sections in record stores holding very limited variety and amounts compared to the Anglo-American music that is split into even more genres itself. Some would say that world music is purely a term that has been institutionalised within the music and media industries to simplify the marketing of alternative music.

Week 3 - Is Popular music a commodity or genuine art form?

Adorno argues that pop music is standardised and a commodity that is mass produced. He believes that the companies who produce popular music are more concerned with making money and do so hurriedly using part interchangeability and pseudo individualisation. For example, the idea that cover versions are purely produced to make money rapidly, using material that was already there. However, we can also argue that pop music is not a commodity but a genuine art form itself. Art is a form of expression and there is no doubting that music produced by the pop industry and their lyrics that accompany them convey feelings, connotations and meaning. Also, just because music is reproduced doesn’t mean it loses its ‘art’ or expression. A lot of the time when music is reproduced, it sounds different and expresses different connotations depending on different factors e.g. the artist recording it. In conclusion, I would argue that popular music can sometimes be a commodity, but that does not make it any less a form of art