Pop Music and Culture

A discussion on music as a commodity and the grazing consumer.

This paper attemts to examine the theoretical arguments concerning grazing and consumption in general, by exploring some of the research and works of theorists on popular culture. With reference to established sources on popular culture including Adrono, Frith and Fiske, this paper investigates the notions of multiplicity of choice, ‘grazing’ and ‘commodification’ in relation to music consumption and freedom of choice. In conclusion it asks if we (as the audience of popular music) really have choice.

Commodification and Choice
Theories on Grazing ? Social Factors
Conclusions on Commodification and Grazing ? Do We Really Have Choice
Conclusions on Choice in Popular Music
Conclusions on Choice and Grazing
“Criticism of Adorno’s views on mass culture is wide ranging. Much stems from the fact that his view of popular music is taken from the viewpoint of high art and therefore, misses the point of popular music in the first place. Other dissatisfaction concerns his failure to address the emergence of Rock n? Roll in the 1950s; Paddison makes the observation that ?Adorno’s defence of the musical avant garde can be applied to the work of composer and performers of popular music such as frank Zappa and Henry Crow. (Shuker 2002: 137 quoting Paddison 1993). However, the elements of Marxist theory in the work of the Frankfurt school, particularly concerning commodification, have been widely accepted and expanded upon by bodies such as the Birmingham school, and even populists such as Fiske.”