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Makingartisticpopularmusic:
the goal of truefolk
by JOHN BLACKING
Second,performing
music,likespeakinga verballanguage,is part
oftheprocessofknowingand understanding
it.Performance
does not
and activelistening
is essentially
a
requirea specialsetofcapabilities,
9
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10
JohnBlacking
in whicha personre-invents
mentalrehearsalof performance,
'the
betweencreator,
and
are
the
text'.Thusdistinctions
listener
performer
of
social
roles.
consequence assigned
can inprinciple
be assignedalmost
Third,musicand music-making
or
and
treated
likeany other
any social,political religiousmeaning,
butthesymbolsthatareinvokedalsoinvolvethebody
socialactivities,
insucha waythattheysometimes
acquirea forceoftheirown.Musical
and
evoke
can
sensuousexperiences
thatcanbe,
performance express
ofaction,*
and oftenare,relatedtofeelings.Thusmusic,as a category
of
the
social:
itcanbe a
neednotalwaysbe a reflective
epiphenomenon
of
and
musical
can
imagination
primarymodellingsystem thought,
in
to
action
social
fields
which
its
sensuous
code
does
not
off
trigger
of
the
that
the
because
effects
refer,
bodilyexperiencesmay
directly
anddecision-making
commitment
haveon consciousness,
motivation,
(see Blacking 1981).
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music:thegoaloftruefolk
popular
Makingartistic
11
and transformations
suousexperience
ofconsciousness
areoftenmore
highlyvalued thanimmediatepracticalsocial consequences.When
ofmusic,theysuspend
people becomeinvolvedin theperformance
otherkindsofdecision-making.
Thus thenatureoftheactivity,
and
thewaysin whichpeoplerelateto theorganisation
and perception
of
arethemostinteresttones,theessentialsymbolsofa musicalsystem,
featuresofmusic-making.
ing and problematic
It is not, therefore,
surprisingthatso much musicwritingand
musicologicalresearchhave been concernedwithvalues and with
effectiveness
ofmusicalsymbols,and thatstylesofmusichave been
labelledand assignedcategoriesofvalue.Artmusicwas supposedto
be thatwhichdisplayedexceptional
skillincreation
and was generally
writtendown, as distinctfromfolkmusic,whichwas of popular
origin.Classicalmusicwas a branchofartmusic,initially
opposedto
romantic,folk,modern,or popular music;but as modernmusic
becamecontemporary
and
music,so itbecamelinkedwithromantic
classicalmusic,and labelledas seriousmusic.
Popularmusicwas musicthatdid notseek 'to appeal to refinedor
classicaltaste'(Oxford
and was generally
to
English
Dictionary)
thought
includefolksongs.Butas researchintoand preservation
offolkmusic
grew,so theelitismof thelabellerswas extended:justas addictsof
seriousmusichad regardedpopularmusicwithdistasteordisgust,so
and scholarsfrequently
folk-music
viewedpopularmusic
performers
withdisdain.Therewas 'good', 'pure'popularmusic,whichwas the
authenticmusicofthepeople,and couldbe called'folk',or perhaps
'contaminated'
music
'traditional',
music;and therewas 'bastardised',
of the people, whichwas dismissedby derogatory
termssuch as
or even 'urban'(see Blacking1978,pp. 7-9).
'popular','commercial',
Such extremeattitudesare no longercommonamongstwritersand
but theypersistin the attitudesof manyorganisersof
researchers,
folklorefestivalsand performers
of folkmusic.Forexample,I have
encountered
severalIrishtraditional
musicianswhoweakentheircase
the
of
elitism
Irish
institutions
and ofindividualsdevotedto
against
elitistattitudetowardswhat they
'art' music,by takinga similarly
of Irishmusic,and indeedtoregardas 'unauthentic'
performances
wardsthetraditional
musicofAfrica,Asia, Americaand Oceania in
general.
Classifications
ofmusicinto'folk','art'or'popular'reflect
a concern
withmusicalproducts,
rather
thanwiththedynamicprocessofmusicmaking.Thelabelshavecometoidentify
weaponsinthebattlesofthe
recordcompanies,whoseultimate
aimis surelytosubstitute
packaged
forthelive,genuinelypopularmusic-making
ofordinary
recordings
humanbeings,whichstillexistsin some societiesand was almost
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12
JohnBlacking
to theorganisation
ness of musicdependson people's relationships
and perceptionofthemusicalsymbols,ratherthanthenon-musical
attitudesexpressedtowardsthemor in companywiththem.Thus
althoughmusicalvalueis tobe measuredbythewaysinwhichpeople
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music:thegoaloftruefolk
popular
Makingartistic
13
orhasa socialmessage,theyarenotbeingaffected
religious,
primarily
as distinct
frompopularsentibythemusicalsymbols.Popularmusic,
whenpeoplelikea tune,a sonority
ora wholepiece
ment,is identified
ofmusic,withoutemphasisingitsnon-musical
and tryto
attributes,
relatethemselvesto theorganisation
ofrhythms,
tonesand timbres
thattheyperceive.
In this sense, 'popularmusic'is a categoryof value thatcan be
appliedto all stylesofmusic:*itis musicthatis likedor admiredby
people in general,and itincludesBach,Beethoven,theBeatles,Ravi
Air'.Farfrom
Shankar,Sousa's marchesand the'Londonderry
beinga
or derogatory
musicthathas
term,itdescribespositively
patronising
succeededin itsbasic aim to communicate
as music.The musicthat
mostpeoplevaluemostis popularmusic;butwhatthatmusicis,varies
ofcomposers,performers
accordingto thesocialclassand experience
and listeners.
Since I arguethatlabels such as 'folk','art'and 'popular'tellus
aboutdifferent
nothingsubstantive
stylesofmusic;thatas categories
ofvaluetheycanbe appliedtoanymusic;and thatthemostpressing
tasksaretounderstand
themusicalprocessand ensurethatno human
are
of
their
beings deprived
righttomakemusic,itmaywellbe asked
how I can serveon theEditorial
Boardand contribute
toa publication
thatis calledPopularMusic.
inpopularmusicas definedbythe
First,I amnotspeciallyinterested
Editorsabove(p. i), butI amverymuchinterested
inpopularmusicas
a categoryofvalue. I regardmusic-making
at
least
some 'artistic'
(or
an
as
essential
of
activity)
qualification becomingfullyhuman,so that
failureto practiceit meansleavingsome innatecapabilitiesand resourcesuntapped.Music-making
mustbe an essentialactivity
forallin
a healthy,developingsociety;practiceof music,and of the artsin
general,mustbe partoftheprocessofeducatingthefeelingsand the
intellect.The lesson ofethnomusicological
researchis that,farfrom
a
for
the
future
in
industrial
societies,thissituation
being pious hope
has existedin themajority
ofhumansocietiesforthegreaterpartof
humanhistory.
As EricGillsaid,'itisn'tthatartists
arespecialkindsof
It's
that
are
of
kinds
artists.'
people.
people
special
ofpopularmusic,inthesensedefinedbythe
Second,theemergence
Editors,as a phenomenonof industrialisedand industrialising
societies,is one ofthemoststriking
examplesofthepowerofmusical
and
musical
and searchfor
of
symbols,
people's general
creativity
in
life.
it
to
define
as
was
and
Just
necessary
analyseclass in
quality
orderto dissolveit,so itis perhapsnecessarytodefineand analysea
* 'Folk music' and 'art music' can also be treatedas categoriesof value ratherthan as
types of music, but the argumentneed not be taken furtherhere.
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14
JohnBlacking
inthearchaeological
and production
record',in
'Dance,conceptualthought
ed. G. de G. Sieveking,
andSocialArchaeology,
in Economic
Problems
I. H.
Longworthand K. E. Wilson (London, 1976), pp. 1-13.
MusicandPygmy
Bushman
issued,withnotesand transcripMusic,recording
tions,by theMusee de l'Hommeand thePeabodyMuseum.
TheBritish
Journal
of
Jones,Peter,'Worksofartand theiravailability-for-use',
Aesthetics,11:2
(1971),
PP.
115-22.
Frank,'Did theAustralopithecines
Anthropology,
sing?',Current
Livingstone,
14 (1973), PP. 25-9.
ruralsinginginYugoslavia'(The
Ankica,'Ganga,a formoftraditional
Petrovic,
of
Belfast,
Queen's University
unpublishedPhD thesis1977).
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