What is world music?

The controversial relationship between 'local' and 'global' within popular music must be considered when defining 'world' music. ‘Local music’ is described as indigenous music, which is specific local surroundings, where as ‘global music’ in contrast sees major labels projecting talent to a global market and audience. It is from globalization that cultural imperialism has arisen, where prevailing nations influence dominant ideologies through certain marketing functions. This causes concern towards the seemingly homogenous music creating a threat to ingenious music types.

Peter Manuel’s ‘case of the Indian cassette’ argues against this opinion. His study found that with the introduction of the cassette, new independent markets encouraged diversity in available genres, to large amounts of people, and so weakened the mass monopoly created by predominant companies.

Ultimately global music corporation’s extensive control on information within the market means that any diverse music type can gain popularity with ease due to mass monopoly.

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

According to Adorno, ‘The popular music industry is an all consuming production line that churns out mass produced, inferior commodities.’ He believes that the structure of popular music is standardized and presents the ‘illusion of uniqueness’; something, which he declares, could never be applied to classical music and so automatically creates a hierarchy.

In response to Adorno’s viewpoint, Gendrum argues that ‘popular music privileges different criteria to European classical music’ so therefore this notion excludes the idea of inferiority within music, as there is difference on the focus of production.

Although popular music ‘accentuates similarity’, the way in which it is consumed is differentiated from other mass commodities. Just like other art forms, which emote individual expression, music can ultimately never be reproduced. Although many music artists may be seen as highly commercial, a song that someone has written, which expresses feeling, in my opinion conforms to an art form.

How useful is a production of culture perspective in understanding the birth of rock and roll?

When looking at the birth of rock and roll, Robert Peterson states ‘we cannot effectively understand culture unless we analyse in the context of the producers’. Peterson adopts six key features that contribute to the emergence of rock and roll, and these predominately focus upon economic factors of the time. These only concentrate upon industry related circumstances and the way in which they evolved together to create the opportunity for new music to be established. The understanding of this perspective is highly questioned however. The main flaw within Peterson’s concept means he does not actually address the music itself. His theory does not specify why rock and roll music maintained the success that it did and why it was regarded as it was. Personally I don’t believe that culture perspective can ultimately define the birth of rock and roll, and feel it is essential to combine social factors to its influence.

Is it reasonable to consider that rock music is male gendered?

Within the entire concept of rock music, it is obvious that there is a gender hierarchy, in which men are dominant. Female presence within this area has been minimal, with most performers being known as ‘singer songwriters’ showing emphysis on lyrics rather than instruments. Stereotypically when women are featured with guitars, only sexual connotations are implied and focused upon. This suggests that it is ‘necessary to become one of the boys’ (1) in order to be regarded as having a similar musical ability. Female audiences are also objectified in this way, with ‘language suggesting sexual subversion and male dominance’ (2) within music making. Some female performers have tried to break the mould by trying to use their sexuality to their advantage, however I think this further objectifies them in comparison to men, which shows little progression within the music scene. Just like their instruments, women will always be a novelty.

(1) Frith and McRobbie

(2) Amanda Sloat