Adorno offers a strong insight to this trend and how popular music has embedded itself in culture. In addition to being influential in molding society, Adorno believes that culture plays a part in representing what the society was going through at that particular time in history (De Nora, 2). Other advocates argue that culture dictates how social groups act and behave. For example, in Profane Culture, Paul Willis makes the connection between culture and the labeling of each member of a social group. He says that it is the interaction with culture that gives the overall meaning to the group (De Nora, 6). The constant use of this culture is what makes up social verve. The influence that popular music has in affecting society and culture can be proof that if incorporated into the education system, it can be valuable.Ed Dorn, poet, describes the communal aspect of music as “that great Zero/Resting eternally between parallels’ (1978: 73, De Nora, 4). How then do we wrap our heads around the social construct of taste and identity in music? Simon Frith thinks “the question we should be asking is not what does popular music reveal about ‘the people,’Culture (1978), the boys’ favorite songs were those that were characterized by fast and powerful beats. This was representative of what Willis called the ‘bikeboy culture’ (De Nora, 6). The boys believing that this type of music had an affect on their social outcome gives them taste and identity. The ‘bikeboys’ believed that they could use music to emotionally carry themselves to this mentality and transition from any social situation (De Nora, 7).Music can be used in real life. Popular Music, Youth and Education.
De Nora, T. (2000) Music in Everyday Life, Cambridge: Cambridge University Press.
Green, L. (1988) Music on Deaf Ears: Musical Meaning, Ideology and Education, Manchester: University of Manchester Press.
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