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Notation and identity in contemporary popular music

Published online by Cambridge University Press:  11 November 2008

H. Stith Bennett
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Extract

Popular music, like all manifestations of popular culture, lives on in spite of recurring criticisms that cast it as somehow inauthentic. In fact, defences against this discounting are built into popular music (for example, the Rolling Stones' classic: ‘It's only rock 'n' roll but I like it’) and built in, as well, to the identities of those who make the music a part of their lives, be they players, producers, consumers or critics. On the other hand, so-called classical music, not unlike other manifestations of Western European art culture, lives on in spite of popular music and provides the touchstone of authenticity that creates the defensive popular response. The ideas I am advancing here are intended to allow the players in this authenticity contest to be recognised as evidence of unique historical circumstances: recognised, that is, not only as stock dramatists of ethnocentrism, but as indicators of long-term changes in music cultures in all parts of the world.

Type
Part 3. Modes of Musical Production
Information
Popular Music , Volume 3 , January 1983 , pp. 215 - 234
Copyright
Copyright © Cambridge University Press 1983

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