File Under Popular: Theoretical and Critical Writings on Music [1 ed.] 0946423016, 9780946423019

Citation preview

EFL]

REDNU

LOPPRU

ERRATA: Pages

136

&

137

are

incorrectly

numbered.

Please read 134 then 136 then 135 then 137. p.42 - line 7. 'non-organic' should be ‘organic’ P.52

-

P.86

-

line

8.

line

3

end

of

line

should

read

‘we

l:ont;nue to long for p.67 - line 17. bracket should close after ‘between' not 'modern’'. p8S - lime 6. last word is aaZz.ps-Lsm. § line 15 should read 'historical fore P.146 Pp-182 p-204 P.220 Passim couple

-

'children

of

theu- generation'

line 5 embedded not embodied. line 9. First word: ’semses’. Footnote. line 1 is 'a product’ #4 s * ! -minor typographical errors - a of charming mixed metaphors (bottom

tolerance E

i

e

read

or

throug

two

example:

T

1ndulgence please. Thlnk . CC.

FILE UNDER

POPULAR

Dedicatory. ‘m:l.sbookwasorzgmalypr@ared ‘or publication in Czechoslovakiaa Sekee, in the person of Josef Vlcek lecting ¢

it

struck

me

as

of

its

t

virtually none of them had ever seen the light of day in 1lish. Hence this edition. At first Czech tion was to ha 3 1lish, thén to have been published simulataneocusly with it. Now, sadly, the Eng! cames out . Since Jazzova & Josef

remain

the

Sine

Qua

Non

publication,

J.tm:stbemthem& their work, that this book i ly dedicated.

Excuse me too for a moment while I aknowledge my parents, my brother, emt; also Peter W, Gunther, Philip, Umberto, Franco, Simon, Klaus F & MaryT. Finally, to Ed Baxter, who retyped the wiole MS, far beyand the call of duty, meny, many thanks.

\\\\\‘\% ‘

NOVEMBER BOOKS General Editor. FILE

UNDER

Chris Cutler.

POPULAR.

First Published in I985 by

Noverber

Books.

€&

Books & the Author

Novewber

Decorations by & © Grah: eatley, except THE REST p222 hy Mary Thomas & the Cover, ISBN O 946423 OI 6

Printed by Image Print Resources 7 Wandsworth Rd. London SW 8.

NOVEMBER:

583 Wandsworth Rd. London SW8.

INTRODUCTORY 1.

WHAT

IS

(Z)

Possible meanings of 'popular': Commercial, numerical; *of the people'; a new genus: a loose demotic musical

POPULAR

MUSIC

?

language-. Conclusions. (i)

The

'level

of discourse',

'progressive'

forms

? What do

we want to study ? 2.

THE -A

REALM

LIFE

OF

LIGHTNING/BLACK

Culture

as Collective

(i)

Culture

as Commodity.

(ii%)Black

IN

A

WHITE

WORLD/SUN

RA,

? Myth,

Discipline,

Research,

Biographical

sketch.

3. LIVING

expression.

music.

(Zv) What's in a name {v}

MUSIC

WORK.

(Z)

IN THE ELECTRIC.

(i)

homeless

(i)

& Film

(ii1)1s business

Art

§ the American

(v)

Intermezzo:Memory, a

history; (vi} New Media,

Dream Recording,

the harmonic Through

productive sketch

§ structural

of

§ reproductive

Western

crisis

The Door.

New Arena.

(vii)Post Scriptum

Saturn,

THE RESIDENTS.

material-dialectic

The Wuy Out:

Black Myth,

on technique.

?

(Zv)

means,

Solar Myth,

Past/Present/Future. A note

& Recommended Discography.

music

of C20 music.

4.

PHIL

OCHS

AND

ELVIS

PRESLEY.

(i) Parts i-viii: about 'meaning’, vampirism, existential murder, of suicide of

the

Ochs-in-P

defeat

§

types

(ii)Appendiz:

‘,,‘the” of

of America,

ley-in-Ochs, of types of

Victory.

FBI Records.

5. NECESSITY AND CHOICE TECHNICAL

committment, polii:ics, integrity, honesty, types

(from opposite poles of a gestalt)

MEANS

§

IN MUSICAL

POLITICAL

FORMS:

CONCERNING MUSICAL

§

NEEDS.

PART 1. Introduction. ()

An analytical means

§

framework:

instruments;

struggle.

Ritual,

Classical

or

'Art'

Didlectics

social

forces

- innate §

relations;

the Folk Mode/ Biological Mode/

Notation,

qualities

the

Electronic

Mode/Recording. Androgynous forms: Musique Black American Music, Popular Music.

of

class

Memory,

the or

New

Concrete,

Summary. PART ()

I1I. Popular Music as Battleground. The innate

(ii)Culture

ideology of the Commodity.

as an instrument

of class oppression,

§ of

resistance. PART II1. A Personal Memoire. {Z) Henry Cow. (iZ)Rock PART

In- Opposition.

IV. In Conclusion. producers.

A

last

Quaiitativly new musical word

on

politics

APPENDIX.

Selected Discography.

61 PROGRESSIVE

ROCK IN THE U.K.

§

what

forms §

is

progressive

)

What was unique

to the develop-

ment of Rock § Electric Music in the U.K.? ()

_Introductory note on 'What is Progressive

. 7'

(ZZJRock Mod;

§ Roll;

Skiffle;

Psychedelia;

The

Instrumental;

Decline;

Tiny

Rhythm § Blues;

Flame;

Punk-New

Wave;

'Today'. (iii}Note

~3

(iv)

on

Reggae,

other

Black

Forms

in

UK

1983

'PROGRESSIVE'

POLITICS

?

1. Theoretical. Production,

Commodlty

circulation,

- as Collective

f-the-Content, PART

&

Post Sceriptum September

*PROGRESSIVE' 'MUSIC, PART

Dub

‘use'

of Music

II.

Practical.

CONCLUSION Final Note 8. THE REST.

Expression.

of

of Music.

Circulation

music

-

The Missing

Content-of-the-Form.

for Political

The politieisation Production,

consumption

as

Link:

Notes on the

Ends. Revolutionising

§ Consumption.

forms of

INTRODUCTORY NOTE. These essays were written at various times over the past five years & for various purposes.

This is therefore,

necessarily,

collection of self-contained articles rather than a single, ial arqument.

a sequent-

There 75 a central analytical premise however & this

will be found in Part I of 'Necessity and Choice in Musical Forms'. You may want to read this first. If so, I'd rather you read only Part I - which is in any case wholly self-contained,

constituting

the entire text of a paper given at the symposium on popular music at Exeter in Spring I983. icular line of argument later in their tum.

Parts 2 & 3 of this essay follow a part& not a general one,

Finally,

& would be better read

it is inevitable

that there is a certain amount of repetition

in such a collection

& duplication - I hope

this is small enough not to cause irritation. If it is of interest, I, 5,

I wrote articles 2, 3 & 4 unprompted;

6 & 7 in response to requests.

&

]

& 4= \ W ," 4 )‘/,,

f%)‘ J Wf}mm i NN w'mflmm_fl‘_% j

v'IDWM

1.WHAT

IS POPULAR The

first

MUSIC? essay

1983

Music?!

It was written

academic

body

to solve almost less

following

focuses

studies

study,

though

study

the confusions | believe

* International

arising

September

19R1

the notion

labe!

'popular

after

popular music research

at

the

for

long

Certainly

to the focus that

itself

and

the pre-

define of the definiclarify

out of a too empirical

and feelings.

that

Association

that

so

studied.

to formulate

of

in popular

significant should

in

the

on definitions

being

valuable

much

body,

set up to try and

based on assertions

of music we can

in

is surely

is not necessary very

!ndeed,

to this

encountered

that was

the attempt

tion may prove some of

it

finally

it was

the definition

primarily

kinds of music

a conference

exactly what

than

it.

is a musician,

Addressed

frequently

-and

study of certain date

rather

in making

in IASPM

musician.

was written

is Popular

for a primarily

to study music involved

involved

music most

''What

therefore

concerned

essay

collection

conference

the problems no one

a working

popular music

IASPM*

in this

for the

the

first

Amsterd: am

that

there

music',&

study

International

is a type

subsequently

of Popular

Music,

Conference

e June.

founded on

enclose

in clear analytical

parameters,

is misleading

and unwarrantable. | try to show why | think this is so in the following essay. In any case,since all the essays would

in this normally

no bad thing what

collection be called to preface

are concerned popular music,

with what it is probably

them with a few thoughts on

this nomenclature might

actually mean.

WHAT

IS POPULAR MUSIC Of course

does it mean genus &

?

the ambiguity

mean numerically

'of the people';

of music - a genus

relations

of

commi ttment

record,

listened

or has it come

Does

to,

it

or bought;

to refer to a whole

loosely bound by its particular means

production,

to electric

gramaphone

lies in the word popular.

§ statistically the most

circulation

§ electronic

§

consumption;

technology,

§ to what we might

call

by

its

to radio

a demotic

& the

usage

&

language? If we settle

for a strictly numerical

matter of our study in other words through

charts,

studying

the

we might

develop

sales

§ polls,

examples; to trace

deep

of

content

icular

the

an g postiori derived

way from

forms

market;

how

§ elements certain

of commodity exchange

form of alienation such a study might

'successful' of music

musical

in this

the

to

of concrete

to an attempt forms.

forms

In

is the

fit into mesh

§ how they embody

intrinsic discover

analysis

attempt

group

what we would in fact be studying

§ how particular

operation

best

society,

indeed any musical

study will be reduced

backward in a piecemeal

our ken

clearly we shall not be

than

in a statistically

any ontogenetical

a consumer market

then

will be no more

- if the

can only swim into

life of a form of music,

find common elements

analysis

the

with

the

the part-

type of exchange.

contradiction

between

At

vital

new forms emerging from outside the market § the abstraction § alienation of these new forms as they are incorporated into the market. Perhaps

a more

whatwe want essarily §

fame

§

serious problem is that

to study

leave

marketplace

contingent

out of account

- both those

those

which

are

not.

any definition

on commercial

all

those

Such I3

a

of

success will

nec-

forms which fail in the

which are aiming study

at the crown of money then

would

be

unable

to follow the travails aesthetic expression; which produces in

music,

for

market,

of musicas a struggle it would be unable

innovation these

are

& typically outside

unable

to distinguish

why a particular

before.

it.

itself,

its

history

active

§

It could only

the

forces

forces

organic

the

distorted

alienated, which

a

§ in

ultimately to the

life

these

currents

underground

sumer choice charts

§

interest

innate ities'

groups,

wants.

the market,

made

so

called,

of

the

§

part §

of

complex

belong

§ if it is

with other,

not

a numerical

a simple

qual-

the meaning

measure

local,

or

even

of

of a con-

amongst

special

to do is reflect

the

from among a limited number of comm-

is not

limited organically, culture,

marketplace

It is a number

by the ideological

that

be too narrow.

is not

Indeed,

a

bet-

45 a whole of

intimate

then

to

relation

- § when we set out to analyse

national,

dynamic of an indwelling »

are

the most we shall be able

This number

mas;distrihution. way,

aspects

surely

the market

of people

operation of a choice odities.

belong

of musical

§ appropriations

§ their engagement

is complex § partial whether

it,

The

life of music

marketplace,

distortions

of music outside

in any case

sales,

life of the music

produced

concerns that we wish to study,

what a community

after the

§ to try to inter-

struggle.

discontinuous the

ification of the term popular will Secondly,

the

essential

itseif,

but the

which

cultural

- but the sources of market

consumer,

ask

the market

§ continuous

flourishes

of

such a study would be

- study of the meanings

in

ween the deep, music

§ means

irrespective

form had become popular that was obscure

of a consumer choice;

deeper - § more continuous as

occur

At any time

This would be to understand

the.meaning

forms

which

the historically § culturally

from the merely trivial. event, pret

for affective

to uncover the dymamic

and refinement of the expressive

processes

prefererces

&

through

but by 'ecosomic of

limited

the real-

mass-production

also

in o more

of the marketeers

subtle

§ through

the operatmn

of the

creanon,

inevitable

two

marketing.

apparatus

Thirdly, it does on the

of taste-formation of

Such a popularity

§ any conclusions very conditional.

drawn

§ demand-

producti

§

then is a very conditional

from an analysis

thing,

of it must likewise

be

’

this

'democratic’

institution

demand the existence

notion of popularity,

of Tchoice',

resting

as

implies if it does not

of a music which is not popular.

We should

still have to account for the Form § Content of such a music, for its genesis § its cultural meaning. This would leave us with a vital knot 1 suspect, numerical

of urgent questions

the questions

still

to answer - precisely,

many of us are most concerned with.

Finally,

to

use

the

numerical

only compound the confusion. cultural

to

cover

collective,

form - a form typical

music

§ since

it is popular,

ctirculating

there

in

that

is no choice

but same

community

of the musical Indeed,

term popular

indistinguishable

commodity

(all too unjustifiably analytical obviate .

confusions

assumed) when

soc-

Numeric-

is no other body

which

is

unpopular,

any significant

event)

such a judgment

it is plainly tautological. music,

§

such

To

Folk Music a

conflation

would only multiply

°

§ perpetuate

surely what we want is to minimise

§

them.

Suppose

people'.

§ peasant

for such a music would make

from

I mean

unalienated expressive

(§ indeed not even

ambiguity in the meaning use the

would

as a commodity.

since there

is of very little

value.

musics

of pre-capitalist

ieties § hence never produced primarily ally of course

Folk

Is Folk music popular music?

b).' Folk music any indigenous,

of

The

notion of popularity will not help us here.

Then

then that we want to use popular again

Folk

éex:tainly popular musics

Musics

as

I

have

described

- in their own time 15

to mean § place.

'of the

them

are

This

is a

usage

which at least

exchange

shouldn't

to deal with.

exactly what

Still

conditions

ional,

colonial

§ what is

'for'

voices

of 'culture'

?

song - an important directly background

the innate

transitional

of the people

form,

'of the people'.

in the

were also

of collective folk form, amongst

style,

states

but altered

circulating

expression, for

whom

it

social

adapted

different,

for,

a

wanted not to express musical

form

together

§

with

there

its was

same time, - in broadsheet ersatz

to suit the broadsheet

alongside genre,

them.

Here

- I mean

spoke.

The

as a means The

first,

'of the people'

second,

ersatz

forfil,

meaning § was increasingly marketed vicarious

audience,

but to consume; own

content.

movement

§

The

an

songs buying

then are two

one circulating

the other as a commodity.

could only be popular

those

cultural In this

At the

circulating

significantly perhaps,

of a musical

ated this deep

it sprang

amongst whom it circulated.

More

Folk-

It was certai‘nly

§ indigenous

songs were

different

Industrial

inasmuch_as

consciousness

of these

form - as commodities. written

what

§ the alienated

I think.

discussing

concerns,

respect it was indubitably

public,

of

a music of in transitbetween

i

however,

versions

of commodity

cultures,

the case of English

sense we are

from the

commodity

- between

for a moment

popular in the

the distortions

How are we to disentangle,

§ predominantly

is 'of'

Consider

have

it has to clarify the question

have to be fulfilled to make

rather than for a people?

audience

alien-

to,

ideally in fact to fill two

confusion

forms between

existed them

&

which

the

close -

yet

there remained an irreconcilable § absolute expression of a class difference. Thus it is that in the crossing over between the two forms

we can identify the

where

'"culture

a commodity'

site

& expression

as a form of collective

vie.

of a class-struggle,

expression'

§ 'culture

as

Formally both are extremely analysis

types of songs

similar.

Indeed,

tinguish

into one another.

between

(the authentic

sometimes

can distinguish between

are leaking

change

in the deepest

that we need an analytical § understand the vital

To call

both the

contemporary

follow one of these

interest

Nor

§

before, outlook

songs

they

'of'

any

being

the

songs;

longer

'of

Strictly then,

these

excepting‘

songs,

history,

in

not of currency.

their original,

dity

commodity

in

a

mouths

people'

version

the commun-

-

broadest

the

people

meaning,

were

they expressed relevance of

sense,

these

is

a

matter

now

of

- § thus of

songs have become,

variety

is not the

they

concerns § political

Hollowed out of currency

specialised

versions,

§

is no comm-

they are not numerically popular.

the

the

unlike

§ in sympathy with

whose

Presently there

the social

collective

unwillingly,

This commodity sheét

t

whose motives,

workers

grew.

long dead § the specific

long passed.

however

in that

Now it is sung by a

are overtly political of

originally

demand for these

are

once

& the

songs.

folk-singer-folklorist

commercialisers ities these ercial

authentic-folk

of

core of

tool that will

elemenets

will not help us here.

We could

the

too they are irrecon-

Indeed it is precisely at such nodal points § qualitative

cultural production help us to pinpoint 'popular’

textual

surely we need vitally to dis-

them ? - for their deepest fieanings

cilably opposed. transformation

change.

§ the ersatz)

only car:eful

them - § all the time

Yet

of

music

same however

for the class ideology

commodity.

as the broad-

stressed

by its

modern retailer is - in intention - that of the industrial workers who created the song. The broadsheet focused on exchange value,

the

contemporary

song is now made bourgeois

singer

an invocation

- history,

focuses

use

of working

& in this sense

a contemporary ideological

on

value. 17

§ this

value.

class sense

The

revived

- as opposed only,

to

it has

It

is

a

strange,

but integrated,

ambiguous

it is the

form,

this

museum

a commodity but with a core

not numerically popular,

But how could we call it popular

work:

alienated

of commitment.

nor is it properly

It is

'of the people',

chosen mileu of many a 'politically'

yet

committed musician.

?

Lastly, I'd like to suppose - I admit it's not likely, but it is possible - that one of these authentic, revived songs were a 'hit',

in a version

it's the theme longer

by a committed

unlike

of the

other popular hits,

words

§ music

all the ii)

ideology

stages

subverted,

iii)

class-ideology retained,

agree

of its

The but

reproduction,

to describe both its former § later again we need a tool which will ‘ the two; i)

as a specialised iv)

it is in

§ sensibility.

indeed, the

as a 'pure' hollowed

to distinguish

song as expressive

form as a commodity,

formally intact but actually transformed

place

-

it is quite

have been utterly transformed.

described here:

in ersatz

song is no

choice-popular

same as they were in 1800,

§ conditions

enableus to distinguish between currency,

time,

song are the the nature

§ its consumption

Surely -to use the word popular existence is not useful ? Once between

(perhaps

? The

form § content

§ in spite of the fact that

of another

of this

as a commodity,

its circulation

folksinger

Now what

but it has become

fact that in both

every way the product now,

socialist

of a popular TV series).

'of the peopie'-popular

& this in spite

with its class-

commodity,

with its

commodity,

its ideology

out of all meaning

§ itself

into a commodity.

One category I think could be settled right away. If we can on a definition of Folk music;*based on its modes of prod-

uction,

circulation

community

in

which

term pupular only where

§ it

consumption lives,

we

§ can

by

several musics

is a choice compete

between

for the

#* 1 have elaborated on the pa:x‘ametets iii of Part 1 of 'Necessity & Choi

its

then

should never be used where there

deep let

same audience. of

'Folk 18

relation

it

stand.

the term Folk

different Music'

as

musics

to

the

Then

the

applies

In other words, a strict

but

& where

category

in

once section

distinguished musics

from Folk music,

circulating

popular

as commodities.

music exists as a commodity. every music which

takes

be plainly

absurd.

recordings

of ethnic music,

Young § Evan Parker,

What

about

music

the third

demotic musical

always

- field

Guesaldo,

at random,

describes

La Monte were

all

a commodity

form,

than that.

category:

language,

§ relations

song,

a few examples

must be defined by more

that

This would

- for instance

bird § whale

to take

Though popular

it still

loose,

only apply to

case then popular

for,n is popular.

It would mean that

popular.

by its means

music would

In every

That is not to say of course

a commodity

that popular

a genus,

of production,

describes

definable

a

ultimately

circulation,

& consumpt-

ion ? The

daily

heterogeneous but alse are drawn

'classical'

§c.

between

however

The market

in certain

cases

'popular’

and

market-orientated

covers

§

Rock & Roil

made with electric themselves

ed into

when

modern,

'pop'.

always

Of

the

using

a

various specific UK.

and

popular

also makes the

two,

entertainment,

blanket

§ Roll term

use

all

beyond

composed

musique

however, classical,

resulting popular

a clear distinction 'popular' while

groups.* the

word

is

'pop'

youth music,

by small

subgenres.

electric

or which is provided includes

is overriding,

Rock

* And also of course, specifically, in

including

instruments

& present,

itself immediately to

context

label:

in fact

& post

styles

opposes

valuation

usage

all the

from which the hits

any music which employs

in this

in a double

Common

not only

of styles

singing

In fact, popular - § classical

music,

conerete.

as popular

go to make up hit parades past

or non-operatic

for dancing. concert

recognises

from the range

- § even beyond this,

instruments

folk,

speech

forms that

any product

always not

only

but any music Young people Rock,

Under this head there

subdivid-

are

to a style associated with the '60's I9

certainly

forms

of Rock music which are not numerically popular

& which don't much resemble - stylistically - the forms which are numerically popular. Yet it is precisely some of fhese, 1 would say transitional study,

forms,which

I believe

would most richly repay

for they brihg into relief elements

which are

significantly

new § important § which, taken together, constitute a new genus or mode of music making, a mode as qualitatively unique § as historically

important

as

Folk

this kind of 'popular' developed,

§

Art

music,

This is a political alienate

musics

were

claim,

an alienation.

before

at its furthest

is manifestly at odds with the

precisely in this opposition

it.

Moreover,

§ most

clearly

commodity

form;

§ it is

that its claim to popularity a claim to negate

It is a claim that

a negation

resides. § to

rests on an analysis

of innate qualities in the new productive media & on immanent §& visible socio-political tendencies in industrial societies as a whole. Crucial

elements of Rock music,

are i) its commitment composition,

ii)

music production, ification iv)

ation

§

§ performance, the

profound

& although commercial critical. 1

especially wit]{

the

equipment,

new

instrument;, iii)

of

Folk music,

improvisation,

material,

the music

§

of

electr-

its elision

composer & performer

status musical

collective means

of

- & a propos both

finally,

in v)

of

the its

formroots

of an oppressed people

-

the relation to these roots might seem slight at the end of the spectrum, at the uncommercial end it is

have

the liberation the

of

J genus

§ of this proposed work,

relations

particularly with electric

re-creation

in a transformed

means,

intimate

§ the use of recording

composition this,

to collective

its

argued

elsewhere,*

§ development

aestheticisation

* See 'Necessity b Choice'

§

here

I

will

have

to

assert,

that

of the revolutionary new musical §

mampulatlon

of

the

sonic

experience

’

of contemporary

life

§ the over-vaulting

so-called mainstream the

mode

outlined

§ the relations

'Art'

above,

music, the

new tools demand different genus

forms,

these

demands

themselves

this mode,§

are

our definition

The numerical definition

§ the

vocal

music,

the

§ so on.

§ retain

this mode

the

way

same

above

of

we

for

each

modes,

means

§ relations

Still,

can

with the ideological classes.

These

cultural

secretions media.

fixed grids, music above The

I would

may call

pre

cover the musics lighf music, §

that we

Roll

dance

§

should accept

analytical pillar, &

the

defined

'Art'

in

or

terms

in

'Class-

of

their

relations

needs of identifiable

social

respectively the intimate biological,

§ written

commm-

that they are absolutely primary

of which all existing scheme

us to do so.

§ by their necessary

represent

argue

tools

the

The broad generic

Rock

Folk

concretely

§ expressive

in terms

forms of popular

do the popular musics

listed

?

of discourse.

Music,

of a whole

the

of electronic,

belong in this level

all

as a pivotal

can be understood.* So where

affective

as

an

element

functicn. collective

'Necessity

& Choice'

of

tribal

RITUAL,

It is not experienced activity.

an 'unconscious'

ular genesis we might * See

be

three modes

do not.

rather than pop:

accept

of production

by

through

old

that many of

should permit

I would argue

should

reached

The

It i§ in the popular-as-

- but it does not

music,

for itself,

that

ical'

icative

does road

mode.

do the new work;

I am sure we need to study

definitions

speech calls popular

middle

new

of the new mode,

Thus

of popular

'"folk'

outlined

which common so-called

relations. met.

or

cannot

expressions

closest

of the impasse

can only be accomplished

electronic

they make necessary

level

say that Part

has

a

motoric

as "music',

It operates precisely - although

but

§

as part

at what we

in view of its partic-

it objectifies a kind of collective

1.

21

'unconscious'

-consciousness.

unalienated

(in

any

sense

of

Its

level

the

term),

of

discourse

is

unconscious

reflexive,

§

completely

participatory. OLK MUSIC is in a direct line of descent from ritual § tribal music: the quality of its relation to the community which produces ation

it,

toward

ly the same however. indeed

Folk it

the

unalienated

the

orgamnic,

music

rather

than

an

-

§

but

§

is

-

in

general

particular

-

§

of itself both as a craft

language.

It is still primarily participatory:

§ dancing. ART MUSIC

on the other hand

as an aesthetic

exchange.

of consumption.

the form itself; development notation

the

& conscious

is wholly

It is individual

discourse

is

musie.

&

at

at

this

intrinsic

to

centre

POP

level

of

consumed, pure-commodity ‘unconscious. ious

t

This

alienation

it

as

a

as an is the

of mathematl cs, a

hlghly

rational

at the height

of its power as a

level of discourse

is alienated, for

listening,

in with.

discoursc

form

alienation -

of itself

'problems',

Its

The

level

§ affective

of Art Music

It is non—partlclpatory,

§ intellectual.

shaping

level

for singing

con