This may be less clear today, snce contemporary society is characterized by the fragmentation of older taste cultures and the proliferation of new ones. I this context, cltural musical transactions take place with increasing rapidity hence the heating up of the cultural economy and its rapid turnover of new products. Nt only are taste cultures themselves shifting, bt people now tend to move between them with greater ease. Tese factors contribute to a sense of the relativity of any single position. Cntemporary musical choices enable us to make among umpteen choices, sch choices refer to the pluralism, ad the effect of that plurality is inevitably to confirm that, i matters of musical judgment, te individual can be the only authority.
(ohnson, 2002, pMusicians are perceived as “speaking on behalf” of the cultures they perform. A Harnish says, “or those of us teaching in geographic areas of little diversity, w are charged with or charge ourselves with the task of representing the music and culture of the ensemble”. (olis, 2004, p 14) Debate about music, een technical debate hs always been an attempt to wrestle with this conundrum: msic flows from individuals to other individuals and yet seems to be shaped by supra individual forces.
Te basic model of that conundrum does not change. Msic teachers, hwever, ae the only representatives of these cultures in the areas where they teach. Tose involved with music of ethnic groups not only strongly represented in the U. bt also to the population that tend to present public performances almost exclusively before nonheritage. Drectors thus find themselves relatively free to to students no direct aural experience of the tradition other than hearing themselves and audiences any type of repertoire, payed at nearly any level of competency.
Te sonic and visual novelty is often enough, iitially, t sustain interest and to entertain for reasons entirely at odds with “authentic” aesthetic criteria. (olis, 2004, pHistory makes it clear that there is nothing natural or essential about the ways we experience music today and the ways we account for that experience. Tat means cultural music oblivion has made us to forget origins and nature to which we belong.
Tday fiercely emotive defense of an individual response to music is not only of relatively recent. ..
Please type your essay title, choose your document type, enter your email and we send you essay samples