Rock Ideology

Does familiar unison equate to technical mastery? Is mass bring up enough to describe customary symphony? The answers to these questions whitethorn non come in handy. Often sequences, what argon considered to be fashionable euphony are the virtuosos that are often played in the radio or promoted through various television shows and programs. Record sales and concert attention are alike important factors in determining (popular unison). Yet, if one has to start out a closer look, the above-given considerations open fire be summed up in achieving commercial triumph. However, for experts, at that place is a thing line that demarcates popular harmony from those that take up emerged victorious from the economy of music making.Through the years, various musical comedy literary genres hurt emerged. Their existence can be attri besidesed for several reasons. First, music goes through a series of changes and transformations. Each and every generation of musicians and ar tists are on a constant experiment on how to create new sounds that can workable exceed the expectations of their predecessors. The other reason stems from the fact that the audiences musical needs vary from time to time.Like food, music is a media commodity that must be constantly consumed by its particular target food market or audience. But the moment wherein the peaks of satiety levels have been already reached, on that point is a strong tendency for an individual to look or desire for another media commodity that can attend to his or her demands. If music is viewed both(prenominal) as a commodity and a form of expression, then on that point is no doubt that universe popular is also relative to organism commercially triumphant. However, this generic notion tends to abolish musics avowedly meaning, essence, value and favorable significance.Commercial success, if such will be apply as framework for what accounts as popular music stripped kill the latters intrinsic and intangible characteristics and features. Each musical genre goes through such concerns. symphonyians and artists alike are trapped deep down the norms of creating music for profit and at the equivalent time maintaining their musical integrity and artistry. With regards to categorizing popular music, it is apparent that stimulate and Roll often finds itself as the center of pipeline between music scholars and expert.Many shake and Roll bands have managed to proceed commercially efficient, even so some stress that the lack of musical legitimacy deprives them from being considered as popular music. On the other hand, it cannot be denied that there are some vibrate and Roll bands which have remained popular hardly to a few selective audiences, their commercial appeal is not highlighted, yet they are often tagged as popular music.This discussion aims to acquire how Rock and Roll struggles to balance its profit- set upd orientation and at the same time preserve the pure and u nadulterated nature of its music. The paper will also deal with disputation ideology, its effect on the musics strike out base and youth burnish and on the overall nature of Rock and Roll per se.Rockin the Youth CultureBeebe, Fullbrook and Saunders (2002) explained that Rock and Roll and youth culture are interrelated to each other. The dickens readily share a special relationship. Rock and Roll is the youth and the youth is Rock and Roll. The two seem to find it hard to be separated from each other. For one reason, a number of youth groups are able to relate to the themes perpetuated by Rock and Roll. The music became the youths language in articulating their give birth concerns and issues that cannot be overtly expressed through direct communication or confrontational scenarios.As Epstein (1998) emphasized, waver music played an important utilization within numerous youth subcultural groups wherein musical tastes and p filename extensions provide a instinct of belongingne ss and togetherness. Rock and Roll allowed these youngsters to relate and identify themselves to the youths staple needs and demands (Epstein, 1998). Gillet (1996) explained that Rock music is able to provide pleasurethe engaging of satisfaction that no other musical genres can provide.But of course, this is something that extends beyond entertainment purposes. Through co-optation, as Grossberg (1997) maintains, the intersection of youth culture and Rock and Roll is preserved and sustained.Rock and Roll and Popular MusicKellog (2003) discussed that popular music is a representation or reflection of the cultural facets of fiat wherein it emanates. He added that the evolution of Rock and Roll is heavily influenced by the post- contend era. In a time wherein a nation is trying to recover from wars damages, the seemingly antagonistic and hostile nature of rock and run would not really come as a surprise. It is not peculiar for such music to tackle social dilemmas that are experience d by the community.This is most especially felt during the times wherein Rock and Roll is on the process of growth and development. In Latin America for example, rock music functioned for propaganda purposes (Hernandez, LHoeste & Zolov, 2004). Going back, it can be seen that such music is not merely used for entertainment activities. To give pleasure and at the same time take into consideration societys critical issues change rock music into something that is revolutionary in nature.Commercially PopularSterns (2001) emphasized that Rock and Roll is eminently commercial. The glitter and glamour that is associated with it is a cover sign of a consumer-oriented music. There is the desire to garner mass appeal which is nonetheless avoided by those individuals that belong to the counter-culture (Sterns, 2001). Placing too much importance on form over substance makes Rock music prone to being a consumer item (Sterns, 2001).However, Hernandez, LHoeste and Zolov (2004) mentioned that unde r the circumstances wherein Rock music strayed from entertainment function, Rock and Roll as popular music has instanter differentiated itself from music that are commercially produced, this is of course in reference to the Latin American Rock music scene. Rock as popular music in subscriber line to rock as consumer item can be differentiated into four different ways. The latters differences are deeply characterized by its content and social function.First of all, rock as popular music possesses intrinsic intent which is to promote awareness to social and political issues (Hernandez, LHoeste & Zolov, 2004). Secondly, it breaks free from bodily gratifications, wherein Rock is produced as something worthy listening since it embodies the Pan Latin-American dream (Hernandez, LHoeste & Zolov, 2004). The lat but definitely not the least is that Rock has revolutionized the term popular wherein it previously refer to music created via the use of indigenous instruments (Hernandez, LHoest e & Zolov, 2004).In the meantime, dismissal against commerciality, most especially as for the case of Rock and Roll bands may seem too complicated. This stems from the fact that these musicians earn their bread and butter from this industry. Yet, in as much as musical authenticity and artistry is relate in popular music, Marshall (2005) explained that popular music must nonplus to the canons of music making in the Romantic period. During those times, music creation was center on maintaining the truth in artist and musics intention, regardless of whether it would be socially accepted or not by many (Marshall, 2005).Rock IdeologyIn order to preserve authenticity in rock music, may bands have successfully practiced the so-called rock ideology (Frith, 2007). Rock ideology purports that the music has an exclusive fan base or community that highlights their individualistic approach and orientations (Frith, 2007). This is in stark contrast to pop icons and celebrities whose populariti es are attained through excessive media hype and exaggeration. In other words, rock to maintain its ideology must create music that is not present in other genres and would cater to a specific set of audience. In this aspect, rock and roll is famous but its grasp and coverage is far by more limited and narrow. It can be categorized as popular music but only within smaller groups, compared to music that follows a certain kind of formula.Once and for all, rock as popular music is something that cannot be readily digested and appreciated by everybody else. And so through following its ideological threshold, the genre qualifies into the context of popular musicsomething that is worth listening and packed with cultural and social significance.ReferencesBeebe, R. Fullbrook, D and Saunders, B. (2002) Rock Over the Edge Transformation in Popular Music Culture. the States Duke University PressEpstein, J. (1998). Youth Culture Identity in a Postmodern homo. Massachusetts Blackwell Publish ingFrith, S. (2007). Taking Popular Music badly Selected Essays. Hampshire, England Ashgate PublishingGillett, C. (1996). The Sound of the City The Rise of Rock and Roll. USA Da Capo PressGrossberg, L. (1997). Dancing in Spite of Myself Essays on Popular Culture. USA Duke University PressHernandez, D LHoeste, H and Zolov, E. (2004). Rockin Las Americas The Global Politics of Rock in Latin/o America. Pittsbyurgh, USA University of Pittsburgh PressKellog, W. (2003). American news report The Easy Way. New York Barrons Online BookstoreMarshall, L. (2005). Bootlegging Romanticism and procure in the Music Industry. London Sage PublicationsSterns, P (2001). Consumerism in World History The Global Transformation of Desire. London Routledge