Adherence to resistance in the music of popular culture

Luka, Marković, Nenad, Perić

Kultura

163

280

292

0023-5164

10.5937/kultura1963280M

http://scindeks.ceon.rs/article.aspx?query=ISSID%26and%2614634&page=0&so...

2019-2021/07/05/09:32:50

A division of cultural events to high and low, as well as differences between the established and popular culture, are subject to a number of interpretations of cultural theories. The right-wing critical thought defended the "real" culture from the crude culture of the lower social classes, while the leftists found mass culture positive for its democratization. Thanks to the impact of the global media, position of music occupies a high place in the hierarchy of industry and market culture. The opposed relationship of art and popular music is being relativized in terms of class identification. The ideology of taste, which is also related to the possession of a larger or smaller cultural capital, has adapted to the requirements of populism and market. Agreeing to concessions is a kind of democratization of elite musical forms (for example opera), and movement of various musical forms in the system of two-way (higher / lower) and circular (from one form to another) forms representing both resistance and compliance in mutual encounter and permeation of classical and popular music, both in practice and in theory. With the exception of the avant-garde "outages" in classical music or lowest genres of folk, all other types of music (classical, jazz, rock, pop, folk) have found some sort of balance in their relationship. Along with the general crisis of the spirit of criticism, this certainly contributed to value relativism, as one of the essential features of popular culture.