2019, br. 163, str. 280-292
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Otpor i pristajanje u muzici popularne kulture
Adherence to resistance in the music of popular culture
aMuzička škola Živorad Grbić, Valjevo bUniverzitet Metropolitan, Beograd
Sažetak
Podela kulturnih sadržaja na "više" i "niže", kao i razlike između etablirane i popularne kulture, predmet su brojnih tumačenja u teorijama kulture. Desničarska kritička misao branila je "pravu" kulturu od sirove kulture nižih društvenih klasa, dok su levičari nalazili pozitivne strane masovne kulture u njenoj demokratizaciji. Pozicija muzike, zahvaljujući globalnom uticaju medija, zauzima visoko mesto u hijerarhiji industrije i tržišta kulture. Opozicioni odnos umetničke i popularne muzike relativizovan je u smislu klasne identifikacije. Ideologija ukusa, koja se takođe tiče posedovanja većeg ili manjeg kulturnog kapitala, prilagodila se zahtevima populizma i tržišta. Pristajanje na ustupke predstavlja svojevrsnu demokratizaciju i najelitnijih muzičkih formi kakva je, na primer, opera, a kretanje različitih muzičkih formi po sistemu dvosmernog (više/ niže) i kružnog (iz jednog oblika u drugi) obrasca istovremeno predstavlja i otpor i pristajanje u međusobnom susretanju i prožimanju klasične i popularne muzike kako u praksi, tako i u teoriji. Izuzimajući avangardne "ispade" u klasičnoj muzici ili najniže žanrove folka, sve ostale vrste muzike (klasika, džez, rok, pop, etno) našle su neku vrstu balansa u svom odnosu. Tome je uz opštu krizu kritičkog duha, svakako doprineo vrednosni relativizam, kao jedna od bitnih odlika popularne kulture.
Abstract
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.
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