I'm sort of sad that my first blog entry is going to be somewhat negative, as I disagreed with almost all 43 paragraphs of what Theodor Adorno discussed in the reading "On Popular Music." In this piece I see a gross oversimplification of a genre of music, as well as numerous errors in classification. His breakdown of music into two spheres right off the bat irks me as I disagree with both his labeling of "serious" music with the word "serious" as well as his overly simplistic juxtaposition of that sphere with "pop" music. I grew up listening to "serious" music—as my dad, aunt, and uncle were prodigal classical pianists in their youths—and I think that Mr. Adorno fails to recognize in popular music many of the same facets of which he seems so pretentiously fond in classical music. So I will just list my grievances in a not-as-scholarly fashion.
To begin, he mentions that in a scherzo there is a "conversation" between instruments, and I believe duets in popular music evoke similar duality in thematic content.
His prevailing argument seems to be that, in contrast to "serious" music, pop musical "details" do not matter, as they are too standardized. Any detail is simply a blip on the auditory radar of a listener because they are in a state of "inattention and distraction" when they listen to pop music. First of all, although a more simplistic structure than say a Beethoven sonata may pervade much of popular music, I think it criminal for someone as seemingly learned as Adorno to unceremoniously cast aside pop musical details. As we discussed in class, the vibrato and emotion carried in voices such as Billie Holiday and Ethel Waters evoke powerful sentiments and present a musical piece subject to interpretation. He claims that any single part of a "serious" piece is essential to the understanding of the whole piece and that everything in pop music is substitutable. That is just not true. The substitution of any voice with that of Frank Sinatra would alter the very perception and essence of the song.
As for the remark about Pop music listeners being "distracted" and in a state of "inattention," well, that's what this course is about: to educate our ears and critically listen. I think, however, that he underestimates the musical inclination of the masses because our very tastes with regards to popular music involve a discriminatory ear. We don't just like everything and every substitutable portion of a pop song. There are favorite parts, there are favorite artists, genres, pitches, etc. We NOTICE when an artist's sophomore album completely deviates from the trademarks that make his/her first album so endearing. Iron and Wine's release of "The Shepard's Dog" added numerous instruments that I just didn't care for. And I haven't even begun to mention the classical pieces my dad played for me that lulled me to sleep...and there's no greater state of inattention than being unconscious. Don't get me wrong, some of them were beautiful pieces; I just sank into them the same way Adorno claims people sink into pop music.
Also, to say that the masses don't understand music as a language is slightly elitist. We don't just interpret music linguistically for our "institutional wants." We find expression in music, we find a way to relate, and we can find (or create) our own identities through music. Pop music is absolutely capable of driving movements, empowering others, and simply declaring one's love. All these things illustrate the communicative nature of pop music.
Lastly, toward the end, he discusses emotional listeners as listening to sentimental music serving as a catharsis—as an opportunity for them to confess that their lives are less than ideal. Basically, we listen to emotional music because it allows us to admit and objectively see how our lives suck. I could not disagree more. I listen to that kind of music because it evokes memories (The Fray's "Look After You" or Teitur Lassen's "One and Only"). I listen because it's inspiring (A Fine Frenzy's "The Beacon") I listen because I feel like their are gifted poets in the world of pop music and I want to hear what many of them have to say (Jason Reeves's "Wishing Weed"). I listen, yes Mr. Adorno, to be entertained (Maroon 5), but also because it more often than not illuminates the good in my life (The Band Perry's "If I Die Young" and Ingrid Michaelson's "Can't Help Falling In Love With You")
This is just a fraction of my response I had written because my internet crashed about 3/4 of the way through my original post.