Bubblegum Music—Popular music place and social stand  

The recognition of popular music has been tremendously changed, due to the thriving of digital technologies, which has linked people in diverse places, increasing the range of music available and, in return, allowing various cities, towns to contribute to global culture, promoting local music much more effectively to outside audiences.[1] On the other hand, it has also made a huge impact to global pop music economy. I for one do not think that we, audiences, should take the entire blame for piracy or copyright infringement, since the quality of today’s commercial pop music have gone so low that creating a song do not require much thinking or exertion . In addition, if I am a student with 50 dollars allowance per week or on student loan, it is not realistic to buy a CD for just one song I like. It is less of a pleasure and more of gambling to purchase a CD or DVD, because most of the time few songs in an album are worth to listen. Some of the pop “artists” today are like advertising products being wrapped beautifully, and aim toward markets as though another ocean wave. After the wave pass away, another one approaches. They are as though empty shells that lack of characters and qualities.  Music to them means wealth and fame more than spiritual aspiration.

However, many teenagers will argue that the reason pop music remain so popular is because that it is the dominant musical element in their social life. The latest song “hit” is much closer to their experience in daily life. The tunes and the lyrics are inextricably tied to their day-to-day social experience, and this makes much meaningful to them. This is not only that it is easier to understand than classical music, but rather it is related to adolescences with their physical and emotional surges.[2]

“A single most important development in modern music is making a business out of it”.  It is the quote from Frank Zappa (American composer and guitarist). Perhaps it is ironic but rather a truthful statement, which allows me to open the following discussion on how the music business is presented in capitalist society. Today’s society pays much greater attention to popular music style than that of traditional classical music, because people view the production of music in industrialized societies as a entertaining business rather than an art. To understand the history of music industry, one must traced back to early 20^th century when the western society was fuelled by industrialization and rapid economic growth of 20^th century. The demand for music particularly by the new middle class increased and musical activities both expanded rapidly and experienced a thorough commercialization.[3] Up to the end of 18^th century, there were less than 2,000 musicians in England and Wales. By 1861 the number has risen to 9,500, and it has reached peak at only under 50,000 by 1931. In the 1950s the ways of music life was affected by the emergence and development of modern capitalism[4]. The decline of patronage system and rise of musical industrial market is the turning point that changes the world on how music is perceived.

The liberation of musicians from the requirements of their patrons did not, in the majority of cases, free themselves from obligated duties, but rather gain more demands from the market. Therefore, discussions of the musical world and the careers of the musicians often return to the tension between artistic aspirations and commercial realities[5], which have brought much insecurity and pressure to many players and composers. There are considered many talented artists today, but they have given up their music aspiration and spirits for popular taste. These were perhaps the most depressing aspects of the commercial pop music: the uninspired arrangements, the bland consistency of the beat, the pursuit of directness, and sometimes vulgar languages. Once again, the rise of musical industrial markets “perfects” the sub-American culture by introducing “fast food” music. The escalation of technology has also formed loyal teenaged audiences of broadcasting radio and television. Most teenagers have an undiscriminating taste in popular music; they seldom express articulate preferences. They form the audience for the larger radio stations, the "name” bands, the star singers, the Hit Parade, and so forth.  The functions of  music for this group  are social -the music gives them  something to talk or kid  about  with friends; an opportunity for competitiveness in judging which tunes will become hits, coupled  with a lack of  concern about how hits are actually made; an opportunity for identification with star singers or band leaders as "personalities"  with  little interest  in  or understanding  of  the technologies of  performance or of  the composition itself. . . .[6] The mass communication has the power to communicate directly with everyone. The popular arts have it, in one sense of the term; the mass media also have it, in another; the two have effected a powerful alliance in modern times.

What a natural circumstance this is, after all.  Every life has its moments of seriousness and its moments of recreation.  Music ministers to both moods. To deny either kind of music is to deny a fundamental fact of life.  That impoverishes life. On the other hand, being too loose towards discriminating or evaluating popular music can also be harmful, not to our body, but more so to our soul. Unfortunately, such objectivity toward popular music is far from realization today. It will eventually be another lesson learned when our descendents are impaired because of our ignorance to understand the seriousness of corruptive pop music today and not be able to give a clear guidance at once.

                                                                                                         Karen Chen