Academic Enterprise Essay Title: Popular Musicology in the 21st Century
Introduction
The ubiquitous nature of popular music is plainly undeniable today, owing to its unmistakable contribution in both economic and cultural frameworks. The term ‘Popular music’ has no straightforward or precise meaning, but in a cultural context, any style of music which boasts of a massive following, including multiple genres, with the possible exception of jazz and some forms of classical music, can be said to be falling under this category (Cleveland, 2013). Its inception and general public acceptance started gaining weight in the late 20th and the21st century so far. Hitherto, there is a strong debate about what criteria should be used to classify what belongs in the ‘popular music’ class (Moore, 2007). The record sales, number of performers, concert attendance capacity, television and radio air play all have sufficient following to substantially indicate that they are popular. On the same note, classical music also has a massive audience (Moore, 2007) and it leaves one to wonder why it is not among popular music. (Wikstrom, 2009)
In cultural, economic and social forms, popular music has enormous importance in the daily lives of people, and in some communities, it is central in their identities socially (Rodriguez, 2012). In addition, economically speaking, popular music has produced products and returns that far much outweigh any other entity in the cultural industry. Income is generated from record sales, musical instruments, record labels, sound systems, and copyrights (Wikstrom, 2009). Many institutions in the past several years had not embraced the importance of popular music, and as such, did not offer courses on poplar musicology (Moore, 2007). To this type of music was ascribed an ‘amateur’ label, and could not stand beside or competitively with the classical music and jazz, irrespective of the excellent professionalism exhibited by those who practiced it, as well as the revenue that was undeniably generated from its ventures (Babich, 2003). With the coming of a new century, the contribution of music, particularly popular music, has been appreciated and considered as a potential academic enterprise in many institutions of higher learning (Cleveland, 2013). This paper discusses the importance of popular music from the perspective of an academic enterprise, and gives a deep analysis of its role within humanities and arts research, as well as the wider culture of the 21st century.
Importance of Popular Music Research
Popular music studies and research have become areas of growth, and the research field particularly is not only extensive, but also very active. With new evidence on the importance of popular music and emphasis on its agenda, the governmental attitude and international face of the music industry that is largely dominated with popular music has changed (Street, 2013). Nowadays, both the government and the private sector institutions are engaged in supportive initiatives to promote popular music and the larger cultural industry, with the realization of their enormous contribution to both economic and cultural growth (Rodriguez, 2012). The dominant proliferation of western influence in the music industry, as well as the undisputed control of major labels over independent entities has since subsided, and there is a clear conventional distinction between such powers. The national significance of popular music and all questions regarding its subject are now subsumed in forums of globalization issues and communalities as well as tensions between the global and local cultures (Moore, 2007).
Particular attention is drawn to the specific contribution of popular music research in the field of academia. As an academic enterprise, popular music has far-reaching contributions, as research into the field can help students get better understanding of the genre, and give it a deeper look instead of regarding it as just another form of entertainment (Rossiter, Goodrich & Shaw, 2011). Secondly, popular musicology has seen the rise of many learning institutions, as it has been found as a viable field of learning. Such expansion in educational faculties has increased the number of student intakes all over the world.
Owing to the complications that have been brought about by the revolution in the music industry, particularly popular music, several issues arise that require research. Popular music research would be important in a number of ways, including shedding light into the importance of popular music itself, approaches that should be used to maximize its potential in both cultural and economic contexts (Babich, 2003), methods of marketing, understanding the relationship that exists between consumers, artists and record labels, appreciating the advent of technology and its importance in the field of popular music, and learning how to transform popular music into an economically viable industry (Allan, 2006). The economic and cultural significance, as well as the overwhelming academic and popular discourse surrounding popular music prompt the need for a thorough and academically driven research on the field.
Popular music research is important in bringing in the full realization and appreciation of the enormous contribution of popular music in both cultural and economic contexts. In the past, as aforementioned, popular music was labeled ‘amateur music’ and did not have any platform in higher institutions of learning, as well as serious forums where global issues were discussed. However, this has changed greatly, as it popular music is seen to be significant not only in the economic context, but also academically (Rodriguez, 2012). These details about contributions of popular music would not come to light without research. It is therefore necessary to consider it as an academic enterprise just like any other cultural activity, and be given equal or more weight as jazz and classical music.
Conducting research on popular music would also be helpful in identifying the best ways and approaches to utilize in order to fully maximize the potential in that field. As earlier mentioned, popular music has conventionally become an integral part of both economic and cultural worlds. In addition, it has become indispensible in education scenarios, as learners appreciate its contribution in the learning process (Street, 2013). Economically, popular music is a great tool for advertising commercial products and services (Allan, 2006). Research needs to be done in order to know how best this genre can be tuned to befit the audience of such advertisements. Furthermore, research also provides insight into the fiscal implications of popular music sales, which had earlier not been taken seriously. Since it has become a major source of foreign exchange earnings, benefits generated from this sector need to be monitored, so as to keep pace with changing economic patterns. Educationally, the use of popular music to drive intellectual development has been much appreciated, and more research helps to invent procedures and criteria of applying this style in a learning process. Researchers have discovered that music is important in stabilizing emotions of students, especially those with behavioral problems, by stimulation of the neurotransmitters by use of comforting sounds. Research thus reveals how popular music can be applied in educational scenario to induce emotional harmony in both teachers and students.
In a research quoted by Garnet (2013) titled ‘The benefits of music education research’, it is described that popular music research is important in in identifying the cognitive and neurocognitive relationship between music and learning. Hannon and Traitor identified that musical education induces very crucial structural and functional alterations in the auditory system. Parncutt (2007) states that music research is indispensible in the contemporary world, as it provides a clear understanding of the genre, making it possible to derive economical and cognitive benefits from it.
Since popular music has become a global issue, a more holistic approach is needed for its marketing and understanding the relationship between the consumers, artists and record labels. Technological innovations have transformed the paradigm of recording, production, and marketing (Honing, 2006). Research helps in identifying cross. Over a long period of time, record labels have controlled the music industry, largely shaping the careers of many artists. Inadequate knowledge of the nature of such a relationship has led many artists enter into binding agreements that have contributed to their downfall. Research is thus important in understanding the relationship between major record labels and musicians, so as to help popular musicologists be at a position to offer expert advice to both parties.
As an academic enterprise, popular musicology encompasses issues of historical development of music, recording, production, marketing, distribution, and significance of music in life (Rossiter, Goodrich & Shaw, 2011). All these aspects of popular music have been transformed by introduction of technology. Research would help in understanding and comparing the traditional form of production with the current style, and appreciate the need to employ new methods of marketing and distribution. Michael Jackson once declared that internet marketing would become the future of the music industry, both in terms of marketing, distribution, publicity and sales of recordings. Research is important in keeping pace with the latest developments in the technological industry so as to ensure an equal-paced growth of popular music.
Importance of Popular Music
The importance of music has been applauded in various spheres of life. Particularly, three major facets of life have largely benefited from this development, which are, education, economic, and cultural contexts. In education, popular music is applied in all stages of learning, as it has been found to have great impact in the aptitude and memory proficiency of students (Rossiter, Goodrich & Shaw, 2011). It contributes to psychological abilities of students that reinforce the capacities of their minds. For instance, by participating in playing of music by use of instruments, the memory muscles are put to task, and this improves their dexterity in massive ways. This practice is hugely imperative for speech improvement, as well as tone and literacy. Researchers have demonstrated that popular music helps enhance the creativity and reasoning skills of students (Garnett, 2013). It is also crucial in helping students control their emotions, since emotional interruptions can result in a distraught student. Ultimately, popular music has also gone a long way in easing the work of tutors, as it provides a solution on how to deal with students with behavioral problems (Yudkin, 2010).
Economically, popular music has overarching benefits. The astounding sales of Michael Jackson’s Thriller, which sold over 40 million copies, brought the importance of popular music into the limelight. It was conceived as a viable economic venture, and the music industry developed multiple folds, with the institution of the popular Music Television, MTV (Rossiter, Goodrich & Shaw, 2011). To add on top, both independent and autonomous record labels, as well as local recording studios have emerged, creating a plethora of businesses and sources of earning for many people across the globe. Due to its global nature, popular music has also been perceived as source of foreign exchange earnings (Parncutt, 2007). In addition, its role in advertising is much appreciated, especially by the media companies, as it provides and easy channel to communicate a product or service’s specifications to a target consumer market.
In cultural contexts, the contribution of popular music has also been witnessed. It is used widely in today’s society to sustain and communicate cultural norms, beliefs and styles of life (Parncutt, 2007). Social teachings and pertinent themes regarding livelihood are passed through this all-important channel, including love, success, and patriotism as well as consequences of vices like hatred, and other social ills, for instance, Jimi Hendrix’s “Bold as Love”, which is a perfect exemplification of these aspects of life. (Vuletic, 2012). Popular music has thus become mainstream in the current system of social and cultural life, being inevitable in passing words of wisdom and warnings to the next generations, preaching peace and unity, and acting as a source of income to members of a community (Garnett, 2013). Live Performances and merchandise of popular music in local theatres and cinemas serve to bring people together, thereby strengthening social ties among individuals. This is not to say that popular music has not brought with demerits associated with conventionalism and modernization. Some musicians, especially in the category of Rap music, have totally misled the public by centering their songs on sex, guns, and violence (Rodriguez, 2012). Apart from the message in their songs, their physical presentation and behavior have led many youths astray, (Rossiter, Goodrich & Shaw, 2011) for instance, the works of Notorious B.I.G, 2Pac, and Eminem, have sold over 75 million albums, especially Eminem’s song “Slim Shady”, despite the fact that their main themes are violence, cop killing, and sex.
As opposed to popular music, classical music is a crafting of knowledgeable and proficient world-class artists, whose music gets to last for generations (Allsup, 2011). It is more complex, and usually appeals to the older generation, while popular music attracts the attention of the younger populace, who are the majority (VanWeelden, 2012). The traditional notion that classical music requires detailed approach and attention than popular music has since subsided, as a result of the wide attraction the latter has managed to command over the last few decades. In classical music, reason towers over feelings, and it is airy, light and elegant, and its composers opted to be more creative and thematic in the works rather than pouring their feelings to the audience (Allsup, 2011). Its composure and level of elegance coupled with its complexity made it appropriate to be included in educational systems. However, popular music has today attracted more attention as well as increasing in complexity with progression of technology (Rossiter, Goodrich & Shaw, 2011). Its multi-faceted nature makes it necessary to be studied in schools, in order to develop and expert workforce that would be able to put popular music into economically viable use.
Funding of Performances and Venues
Performance and venue funding for popular music is a necessary initiative, due to the importance of this genre in education and culture. There are numerous grants available to musicians and organizers to hold public performances, which come from the government, charity organizations and independent foundations (Rossiter, Goodrich & Shaw, 2011). The funding is crucial in identifying untapped talents among upcoming artists, as well as creating a platform for publicity of existing artists (Yudkin, 2010). In educational contexts, funding of venues and performances provides students with opportunities to study different styles of composition, performance and forms of music. To those students who are interested in being artists themselves, it presents an excellent opportunity to ignite and develop their talents through mentorship. Most artists cannot sponsor themselves, or pay for their own venues, thus it would be necessary for a third party like the government and independent organizations to step in and provide grants.
Performance venues can act as learning sites for students who want to develop their thesis and/or do further research into the details of music composition, production, recording, and performance (Yudkin, 2010). In addition, it offers valuable chance for musicologists to offer expert advice to artists on areas that need improvement. Moreover, popular music has been discussed to have other numerous uses, for instance, economic and cultural roles. Funding of a venue would result in generation of income through gate charges.
Conclusion
From the analysis presented herein, it suffices to conclude that the era of classical music is slowly fading away in favour of popular music, and holistic approaches of integrating it into the system of education as well as into the media are long overdue. This field of music presents a viable and significant portion of academic enterprise, warranting close attention and further research. Due to its increased complexity, and given the wide audience that it has attracted, popular music has fitted itself perfectly within the spheres of everyday life, and its application is becoming commonplace. It therefore resents a viable field of study, as well as for business, which makes it worth studying in order to better its performance and production. Research on popular music does not only bear benefits to learning institutions, but to the business world and cultural settings as well, where the genre is widely used for advertisement and to pass on social messages across generations.
List of References
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Parncutt, R. 2007. Systematic musicology and the history and future of Western musical scholarship. Journal of Interdisciplinary Music Studies, 1, 1-32.
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Street, J. 2013. ‘Music and Cultural Rights. Edited by Weintraub and Yung. Chicago and Urbana, IL: University of Illinois Press, 2009.
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