From critics to algorithms: labels, corporations and musical culture of the 20th century
Yesterday we started talking about how the perception of the music industry and music criticism has changed over the past 200-plus years.
While at the turn of the 18th and 19th centuries, criticism only began its formation, and musical works were primarily assessed by fellow composers themselves, then the industrialization of the twentieth century dramatically changed the state of affairs in this area.
We will see what led to such changes and, as a leading role in shaping the music agenda, passed from cultural elites to corporations.
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Photo frankie cordoba / Unsplash
At the beginning of the 20th century, rivals appeared in the romantic tradition that shaped the music industry in the usual sense. Harmony began to "emerge from the tonal shores," inscribed by the early romantics. Organizations that were involved in regulating public taste reacted coldly to this.
Schoenberg, Webern and Berg founded their composer circle, which the press called the Second (New) Vienna School , as opposed to the old order. Gradually, the avant-garde went beyond the “protest movement” and gained fans — primarily among fellow musicians and intellectuals. So he found a place in the repertoire of many performers of the second piano concert of Prokofiev, whose premiere the St. Petersburg public booed.
Compared with the romanticism of the 19th century, the avant-garde was a more democratic genre, partly due to the break with the classical tradition, partly due to social changes in Europe. It became easier to get the profession of a composer, to support and develop creative impulses in oneself than before - the same Schoenberg grew up in an ordinary Jewish family and did not even graduate from school. But the entrance threshold for listeners was only higher, and the work of the critic was more than ever claimed. An inexperienced person is not easy to understand atonal music.
The 19th century was a golden time for song composers. In Europe, the lieder genre flourished, in Russia - romances. Such music was distributed in the form of notes and was intended for home performance. But not everyone could play the piano or sing, which limited the popularity of this genre. Sound recording and radio have changed the situation. And at the beginning of the 20th century, to the sound of world wars and avant-garde revolutions, the songs captured popular culture.
Academic music on the contrary with each passing year became more and more niche, less accessible. The cultural influence of the elites that supported the academic tradition also gradually diminished. At the same time, pop music won a wide audience.
And critics took her more and more seriously.
Technology was the key to this transformation. A sound frozen in time is an even more abstract thing than live performance. The listener can plunge into the eternity of the melody, without even knowing how it was created. This idea would be very consonant with romantics.
Moreover, when the first long-playing record came out in 1948, the last missing piece of the mosaic appeared. Pop music got its “serious” form, similar to the vocal cycles of romantic composers.
As soon as the performers began to experiment with the format of the album and create complete works with a claim to high art, the pop music that we know now appeared. But the influence of elites has not disappeared, but simply changed the shape.
Photo frankie cordoba / Unsplash
Their main task was to inform a wide circle of people about whether an album is worthy of their attention (and money) or not. Journalists, DJs, music directors have become the main navigators of the international music world. Appearing in the “correct” radio program could give a push to a successful career, enthusiastic reviews by critics were the way to recognition.
But, like any such hierarchy, this system had its drawbacks. The voices of minorities , or those who disagree with the status quo of this or that “star,” were systematically silenced. People were offered to listen not what they wanted, but what others consider worthy of their attention.
On the other hand, the development of the institute of criticism helped not to turn the music industry into a popularity contest. Thanks to the work of critics, public attention was also directed at things whose artistic value exceeds their commercial success.
But nothing lasts forever. From the former status of critics, there is almost nothing left - the Internet has provided access to music without intermediaries. About what it led to and what processes govern public opinion about music today, we will tell in the following material.
Photo by Mohammad Metri / Unsplash
Our habrasialy:
While at the turn of the 18th and 19th centuries, criticism only began its formation, and musical works were primarily assessed by fellow composers themselves, then the industrialization of the twentieth century dramatically changed the state of affairs in this area.
We will see what led to such changes and, as a leading role in shaping the music agenda, passed from cultural elites to corporations.
')
Photo frankie cordoba / Unsplash
Academic Music Revolution
At the beginning of the 20th century, rivals appeared in the romantic tradition that shaped the music industry in the usual sense. Harmony began to "emerge from the tonal shores," inscribed by the early romantics. Organizations that were involved in regulating public taste reacted coldly to this.
Even such “harmless” works by today's standards, such as “Enlightened Night” (German Verklärte Nacht) by Schoenberg, were blocked by art councils.
The composers, driven by the absolute, wanted to free themselves from the shackles of tradition. Thus was born the avant-garde - at the behest of composers, but not the customers of their music.
Schoenberg, Webern and Berg founded their composer circle, which the press called the Second (New) Vienna School , as opposed to the old order. Gradually, the avant-garde went beyond the “protest movement” and gained fans — primarily among fellow musicians and intellectuals. So he found a place in the repertoire of many performers of the second piano concert of Prokofiev, whose premiere the St. Petersburg public booed.
Compared with the romanticism of the 19th century, the avant-garde was a more democratic genre, partly due to the break with the classical tradition, partly due to social changes in Europe. It became easier to get the profession of a composer, to support and develop creative impulses in oneself than before - the same Schoenberg grew up in an ordinary Jewish family and did not even graduate from school. But the entrance threshold for listeners was only higher, and the work of the critic was more than ever claimed. An inexperienced person is not easy to understand atonal music.
Pop music and show business
The 19th century was a golden time for song composers. In Europe, the lieder genre flourished, in Russia - romances. Such music was distributed in the form of notes and was intended for home performance. But not everyone could play the piano or sing, which limited the popularity of this genre. Sound recording and radio have changed the situation. And at the beginning of the 20th century, to the sound of world wars and avant-garde revolutions, the songs captured popular culture.
Academic music on the contrary with each passing year became more and more niche, less accessible. The cultural influence of the elites that supported the academic tradition also gradually diminished. At the same time, pop music won a wide audience.
And critics took her more and more seriously.
Technology was the key to this transformation. A sound frozen in time is an even more abstract thing than live performance. The listener can plunge into the eternity of the melody, without even knowing how it was created. This idea would be very consonant with romantics.
Moreover, when the first long-playing record came out in 1948, the last missing piece of the mosaic appeared. Pop music got its “serious” form, similar to the vocal cycles of romantic composers.
As soon as the performers began to experiment with the format of the album and create complete works with a claim to high art, the pop music that we know now appeared. But the influence of elites has not disappeared, but simply changed the shape.
Companies have become the new "custodians of musical standards". The place of patrons of the arts - influential people from high society - was taken by labels, influential businesses.
Photo frankie cordoba / Unsplash
The role of music publishers has grown along with their audience: they gained control of the music industry. And the role of critics has become more commercial.
Their main task was to inform a wide circle of people about whether an album is worthy of their attention (and money) or not. Journalists, DJs, music directors have become the main navigators of the international music world. Appearing in the “correct” radio program could give a push to a successful career, enthusiastic reviews by critics were the way to recognition.
But, like any such hierarchy, this system had its drawbacks. The voices of minorities , or those who disagree with the status quo of this or that “star,” were systematically silenced. People were offered to listen not what they wanted, but what others consider worthy of their attention.
On the other hand, the development of the institute of criticism helped not to turn the music industry into a popularity contest. Thanks to the work of critics, public attention was also directed at things whose artistic value exceeds their commercial success.
No Frank Zappa album got platinum status. Nevertheless, he left an important cultural mark - not least because he did not go unnoticed by the music observers.
But nothing lasts forever. From the former status of critics, there is almost nothing left - the Internet has provided access to music without intermediaries. About what it led to and what processes govern public opinion about music today, we will tell in the following material.
Photo by Mohammad Metri / Unsplash
Our habrasialy:
- “From critics to algorithms”: the fading voice of elites in the world of music
- “Glitter and poverty”: why it ’s not so easy to make money on music, and what to do about it
Source: https://habr.com/ru/post/453578/
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