Progression of music

In this literature review we will be smellinging at reading based virtu whollyy the idea of approach within music. Comparisons between different pieces of text regarding the menstruation position of music, and If possible, the coming(prenominal) of music and how it can get along with. The main books in discussion will dwell of, Simon ReynoldsRetaining, David Gauntlet reservation Is Connecting, TallThe Political Economy of Music. A agglomerate of the quotes that will be in discussion will revolve round the theme of pose repetition.This Is a theory regarding the structure or stage of current music, an Idea Tall briefly discusses In mise en scene with three other previous stages he believes to eat occurred. This in addition explains the prime(a) to discuss Retaining, the themes from this book tie in with the cin one casept of repetition and revolves around firm pictures that current music, and also friendship be trap in the past. However Making is connecting takes a mo re subjective role in the discussion as it is primarily based around the individual condition in the sense of their feeling and creativity, and does not so more need the enamour of both capitalist ideas.We will offset printing draw some theories from Tails. Draws up the comparison of Music running alongside high conjunction, and at head ups beyond. In short, Tall draws the comparison in which music runs along side favorcapable order and how the mindset of caller, at all given age, is reflected onto the art of music. not Just in the literal sense as would be utilise to such eras as Punk, but in the progression of music everyplace clock cartridge holder. its styles and economic organization atomic number 18 ahead of the rest of society because it explores, much faster than material reality can, 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 why his curre nt claim on post repetition is interesting as any other stage or progression in music, according to Tails, could reduplicate that of societies in the future. The question 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, thus it could be seen that society, let alone music, ar currently trapped in a repeating existence that isnt regressing, only expanding.However for the time being it is more all important(predicate) to look back if in that location is any chance of looking preliminary. This is where Italys quaternion stages of music form in Political Economy of Music, and during the closing curtain stage, the idea of post repeating is bought about. Sacrifice refers to the point in musical theater history where no sound was recorded, compose, and the art of music was completely unaffectionate from anything physical. It was simply Just an o ral process. Music was simply a counsel of transferring current cultural and social feelings from one psyche to another. RepresentingThis term refers to the eldest printed music, 1500-1900 AD. Printed music was the send-off form of music that was seen as a commodity, it could be seen as the first time any form of technology had an influence upon human emotion. Tall refers to this period as Representation because the performer would gravel to represent and play 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 make possible by scientific 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 endorsement it could be written and performed. However, according to Tails, the stage of repeating completely took everyplace and ma de the ideas behind representation, now irrelevant. The advent of recording thoroughly tattered representation. First produced as a itinerary of preserving its trace, it instead replaced it as the cause force of be mothers a simulacrum of the record an audience generally long-familiar with the artists recordings attends to hear a live replicationFor habitual music, this as meant the tardy death of small bands, who have been reduced to faithful imitations of recording stars. For the upright repertory, it means the danger Of imposing all of the aesthetic criteria of repetition?made of rigor and cold calculation?upon representation. (Tails,1977) Post Repetition The term post repetition was a term Tall briefly refers to as the following state from Repeating, this is also backed up by Italys Chapter on physical composition and how this current process is not undertaken for exchange or use value.Even though Italys theories, as well as many other philosophers surrounding he subj ect, 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 be progressing. This is why it is of interest as to whether music can genuinely progress, or whether we are infinitely trapped within a post era where Italys equipment casualty 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 vast amount of current music. With the massive surge of the profit and accessibility, the value of music has morphed, and also the intentions of the people making it. This new exercise is NOT undertaken for its exchange or use value. It is undertaken solely for the pleasure of the somebody who does it (its producer). Such activity involves a radical rejection of the specialized roles (compo ser, performer, audience) that rule all previous music. Data, 1977) We will now relate this to and check into 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 advance(a) music of the get downular glossiness is based upon regurgitation of past trends/ideas/styles. We live in a society that is obsessed with its suffer past, instead of moving into a new future.Reynolds does also include mostly all aspects of daily life into his theories and how our society is looking back instead of looking forward. Artifacts of its speedy past, but there has never forward been a society that is able to access the flying 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 a lso gives appreciation to the fact that we live in a manhood where modern phenomenons, such as the internet and media , give society the power to access the immediate past so easily and freely.This is disclose to part of the cogitateing as to why Reynolds believes as a only that we are living in a Retraining, a world that is looking backwards instead of forwards. It is a pretty indisputable fact, that cod 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 argument that it is because we are nostalgic and almost envious of it. Is nostalgia stopping our refinements ability to surge forward, or are we nostalgic precisely because our shade has stopped moving forward and so we inevitably look back to more momentous and combat-ready times? (Reynolds, 2011) stopped moving forward in general, whether or not he is finding re ason with nostalgia. A lot of Reynolds beliefs come with 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 loco for retro and crazy commemoration (Reynolds,2011) Could it be that the greatest danger to the future of music finis is its past. (Reynolds, 2011) These are quotes from the very first page of the introduction and sum up his beliefs straight person a musical mode. 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 nook set whose Ruth disc you never get around to acting. Reynolds, 2011) He then, shortly 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-grad e is now an stationre-grade. (Reynolds, 2011) These quotes are portraying the modern producer as the fundamental reason as to why music isnt progressing. This, to Reynolds, could be seen as an environmental geld due to the fact our society is constantly exploring the past and repeating itself.He set forth 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 enabled us to lineage huge amounts of digital artifacts through mediums such as pods, computers, phones, sound-systems, cads, records, the internet.We can also experience music and media in ship canal 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 b ack, are what we have become victim to. Weve become victims of our ever-increasing capacity to store, organism, right off access, and percent vast 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 in general 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 educe that our access to all this data as only become a robber of recent time. Reynolds never seems to really pick at the resurrect 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 years 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 start of a retro decade instead of being the start of new superior ideas. Perhaps the first time popular culture fully evokeed its assistance to the past. This brings up the question as to whether technological advancements such as Amps, I Pods and the mass growth of file-sharing are the reason as to why we are so sentimental 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 material lost the will to look forward If Italys point of musics styles and economic organization, 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 replete(predicate) 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 safari 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 Gauntlet investigates the process of creativity and can be link 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 basically about how people make things to engage with the world around them, and arrive at 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 comprehend 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)