Ethnomusicologists, involved with the “study of music in and as culture” (Pegg, 2008, IV-1), have investigated many issues involving the socially integrative effects of music and dance. A recent article in Oxford Music Online “Ethnomusicology: Contemporary theoritical issues” (Pegg, 2008 ) suggests that many Ethnomusicologists, and other academic writers alike, perceive music as a kind of “deep sociality, engendering a vital sense of community, of participation and affective bond” (Pegg, 2008, IV-2).
This sentiment was seconded in the article “Music, Roots and Segregation“, published in the Nov 2007 New Statesman Journal. The article (author unknown) expressed concerns that Rock’n'Roll has “turned its back on its black roots” (Statesman, 2007, p7). The article quotes music critic Sasha Frere-Jones in a recent New York times article, where he uses the Canadian band Arcade Fire as a prime example of this: “If there is a trace of soul, blues, reggae or funk in Arcade Fire, it must be philosophical; it certainly isn’t audible” (Frere-Jones, 2007).
Sasha Frere-Jones’ article has prompted questioning into the processes that music may go through to fit into the ”popular music” category, as well as the potential segregational effects of contemporary popular music. The New Statesman claims that “acts that do not fall into the commercial category are confined to specialist TV and radio channels” (Statesman, 2007). These channels are, in turn, dedicated to either black “urban” music, or white rock. When this process is considered together with Pegg’s observations that “communities undoubtedly recognise themselves as such in their music making” (Pegg, 2008), the potential for segregation of popular music to cause segregation between, for example, black and white people, is evident.
The New Statesmen article also raises the question of who is to blame for this phenomena. Is it the marketing and PR companies that manufacture music to fit the requirements for mainstream listening? Are the consumers of popular music responsible to some extent for allowing the radio stations and marketing companies to decide what they are to listen to? Or does some of the responsibilty also lie with the Artists themselves for allowing their music to be segregated and/or changed to fit into a specific category?
No matter where the blame is placed, the issue of overcoming this segregational aspect of popular music requires more attention. It is the responsibility of Ethnomusicologists to identify specific triggers and to suggest methods of overcoming the segregational nature of some music. Mainstream music genres such as Rock’n'Roll, with roots in black communities, should rejoice in their roots and should not be forced to “act white” in order to get mainstream coverage on TV and radio. Rapper Dizzee Rascall has publicly complained that it is getting more and more difficult to get his music out to a mainstream audience (New Statesmen, 2007) and this must be changed. It is the nature of non-mainstream bands that give them the potential to reach across cultural boundaries and create a sense of community amongst a variety of listeners who would not normally unite.
References:
1. Anonymous Author: Music, Roots and Segregation, New Statesman, London, Nov 2007, Vol 136, p7,
2. Pegg, Carole: Ethnomusicology, §IV: Contemporary theoretical issues, GROVE MUSIC ONLINE, Oxford Music Online, May 2008
<http://0-www.oxfordmusiconline.com.library.newcastle.edu.au:80/subscriber/article/grove/music/52178pg4
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