The Degradation of Music for Mass Consumption Essay -- Argumentative P

The Degradation of Music for Mass ConsumptionFrom the very primary time that someone decided to experiment with a melodyal tradition, the squawk has gone out that true, pure, and good music is dead to society, and that music itself is on a perpetual slide to oblivion. All apostrophe aside, this is a serious result to consider. Music inhabits a significant place in all cultures. melodious stylus is very much a function of the Zeitgeist, reflecting the prevalent olfactory modality of the dynamics and pulse of a specific time. As an artificeric medium, music has as much to do with the shaping of society, or as a shaped response to society, as do television, literature, language, or art. The fact that we surface music pervading so m some(prenominal) of our endeavors bears this out. There is no subject like music. A musical composition is a singular, tangible, emotional and intellectual outlet for our expression, so it should be no surprise that the direction of music resonates i mportance with so many people. Which brings us to the topic Is the popular music of today of any value, and what does it bode for future music? In the introduction, I have suggested that the room of popular music of a particular period reflects that period. The particular style that is chosen is the artists response to the agony and ecstasy, or something in between, of the time. The great thing about music, though, is that it can express anything. The Zeitgeist serves as a filter for the variance of the music. In this way, the artist can make his point in a medium that is both accessible and acceptable to the listener. Not unlike language, the artist wants to communicate with his audience, and in order to do that, must speak the audiences language. Of course, music, essentially, has precisely on... ...40 radio, one can easily hear a drum ingest or melody from one popular song sampled directly onto another, an horrendous development. Here is music offered to the public, involv ing virtually no effort by the artist, with bulky monetary reimbursement not just expected, but demanded, by todays arrogant performers. The public sucks up image over ability, style over substance. This abominable arc will not right itself until a desire is expressed by the public for some real music, on a large scale. As with any business, the most effective method is purchasing power. Especially in todays market, music production is expensive, and a panhandling amateur will not brave out long without financial backing. By identifying and understanding objective values in music and associating them with ones own subjective values, we may yet find an matter from our musical morass.