This particular post deals with
Theodor Adorno’s analysis of popular and classical music. Adorno has offered
one of the most critical reviews of popular music of all philosophers, saying
that it is bland and boring. This is due to the nature of our capitalist
economy, which must consistently offer new and relevant products to us, the
consumers. This results in a process of standardization, which more often than
not stifles creativity. This is not always true, of course, but you cannot deny
that there are many prevailing aspects present in many pop hits, such as a
thirty-two bar chorus, and the use of specific chord progressions (like the
ii-V-I in jazz).
(This video shows comedy rock group Axis of Awesome showcasing how many pop songs utilize the same simple chord progression)
This
standardization stems from the aim of mass media companies to appeal to the
largest number of people while still attempting to remain widely accessible. As a result, many popular songs sound similar.
This process reflects the oppressive nature of capitalism. Since music doesn’t
really satisfy any basic needs, the consumer is drawn into an infinite cycle: consumption,
boredom, alienation, and a return to consumption of new material. Even the
social and political stance of such genres as punk and hip-hop, which often
oppose the viewpoints of capitalism and promote anarchy, is meaningless to
Adorno. He claims that this radical stance is yet another “hook” used by record
labels to market their product to a different demographic.
Adorno
claims that popular music really wouldn’t be all that bad if there were no
alternative. Which is unfortunate, because there is. However, Adorno isn’t very
satisfied with all of classical music either. Even back then, he says, there
were still societal expectations of what music should be. Some expectations
have carried over to the 21st century (having a tonal center,
traditional harmonies, etc.). These expectations influenced the output of
composers such as Bach, Mozart, and Stravinsky. Adorno criticizes fans of
classical music, saying that they only like it because it offers a familiar
alternative to the trash that is popular music. True art, according to Adorno,
is only that which is truly socially progressive. For instance, he applauds the
compositions of the twelve-tone composer Arnold Schoenberg. As a bit of
background info, twelve-tone music is music without traditional tonality. It
has no tonal center, meaning there is no traditional harmony structure. As a
result, it sounds very outlandish and dissonant.
(One of Arnold Schoenberg's string quartets)
This dissonance is exactly why Adorno
appreciates it though; it has pushed music into an entirely unexplored realm. He
embraces the challenge that twelve-tone music presents to the listener. He also
argues that the “truth” present in twelve-tone music comes from the fact that
this style of music is free from socio-economic forces. So basically, Adorno’s
belief is that good music must sacrifice what is viewed as conventionally
beautiful in order to better display the complex and contradictory demands we
place on art. Since popular music is so relatable, it lacks any meaningful
social role.
Now I’m
sure a lot of you are thinking “Hold on, there’s plenty of popular music that
isn’t considered conventionally beautiful.” And you’d be correct. Metal,
hip-hop/rap, punk, and electronica are all more modern genres that push the
envelope of what music can be. Yet Adorno would reply by stating that any
popular music cannot possibly contain truth, and that truth could not be
conveyed in music that was commercially successful.
Of course,
I disagree with pretty much everything Adorno has to say about popular music. I
believe that he is approaching popular music in the wrong way, with the wrong
attitude. While his view on how music should be socially progressive is
interesting, it is possible to do so in the framework of the modern music
industry. Especially with the availability and affordability of
semi-professional and professional audio equipment, it is easier than ever for
an artist/band to be self-produced and marketed, thus freeing them from
corporate influence. Stay tuned for my final blog post to hear my own personal
philosophy on music!
Adorno died in 1969, so he could have been listening to the Beatles. But I'll be his main reference points for popular music were more centered on the Jazz & Big Band eras. Either way, I agree with you: he didn't really know what he was talking about. That's not to deny that there's plenty of pop schlock, or that mass taste is unsophisticated, or that the music industry can be pernicious and leveling. But "classic" is a judgment, not a genre.
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