||Since the Industrial Revolution onward, the technology involved in the music arts caused the works to be a lot of copies, production and distribution. Like early LPs, cassettes, and recent CDs, digital format files and so on, not only changed the way of listening and media habits of audience, but also affected the artists' creative thoughts. For this phenomenon, Adorno and other Frankfurt School members who advocated the concept of “culture industry” thought mass production could lead to a decline in music quality, resulting in kitsch, superficial cultural goods, and losing its authenticity. Is the situation really so pessimistic? Nowadays, the conception of production and consumption of music has been very different from the past. Do we living in the digital age be able to distinguish which is kitsch, and further to interpret the contemporary authenticity of music arts? |
In this study, I want to focus on the two core concepts: kitsch and authenticity, and the characteristic of music arts to explain. From Benjamin and Adorno's theoretical context, I try to explore how the evolution of technology eliminate the “aura” of traditional works, and then caused qualitative changes to the classical music and the popular music as representatives of high culture and popular culture. The boundary between the two is getting indistinct with the advent of postmodern context. In addition, I want to reveal the inherent authenticity of the popular culture by discussing the aspect of its rebellious and subversive ideology, and give another interpretation of the kitsch colure in Adorno’s point. Furthermore, the technology revolution provides new perspectives and techniques for musical creation, and also transforms the meaning of kitsch culture. Here, I attempt to clarify producers / creators how to construct the contemporary music aesthetics, and find out the forward strategy of getting rid of kitsch, returning to the populace.
Another approach in this study is consumers’ listening models, including attentively static listening and dynamic body senses, to develop a multi dimension authenticity according to the individual’s different situations and listening attitude. Finally, I explore how the special mobile listening model in the postmodern consumer society associated with the Baudrillard's consumption theory, and try to figure out, in the shadow of late capitalism, how to reject integration and incorporation of kitsch culture, and discover the possible practice of being authentic.