Is music still true?

Is medical specialty still line up?Is Music Still True?Authenticity is a major issue in projectular unison, and it to a fault seems to verify the differences between rock and pop. To actors, rock is the musical genre that has verit fittingity and is most trusted, while the pop genre tends to be more of a commercialisedized type of music, which most musicians immediately believe that the pop music is about the glamour and the money. In the end it comes peck to the listeners point of view. In this argument, reality is understood as true to its origins. Some say that with the new engineering science today, its hard to make anything audio frequency trustworthy. In some cases, for example Jack White from such bands as The White Stripes, The Raconteurs, and The dead Weather, necessitate stayed away from technology when it comes to the recording end. White similarly attempts to capture genuineness by using old instruments, to capture the amount of money of the old time sound. Like White, other mechanics as well find that the new technology today takes the soul out of the music, as well as go far enough to use authentic old style instruments. Although some believe that you can use technology today to give it sluice more of a rich authentic sound. Most people believe that soul is the key voice to genuineness, while some believe that it is about reenacting the innovators of the past. Some believe that songs or artists can still have authentic baseborning. One artists that has dealt with issues of authenticity was 60s folk star Bob Dylan. Dylans first electric album rainy day woman had a enormous impact on his fans. The fans were enraged at his desertion from the authentic folk roots that he was so well known for. He received some confidence with the fact that his lyrics and song topics were still awarded as authentic. Dylans song were known to make a strong sales booth toward politics, and had simple lyrics but had complex understanding. Then there are artists like John Mayer, who keep to the authenticity on every level, but seems to add his own modern twist. Mayer is a well known megrims guitarist who keeps to his discolory guitar riffs, but with a sound of a distorted guitar. Mayer at times has also been subjected to the pop commercial genre, with his higher pitched voice and for his criticized lyrics. Artists like these prove that authenticity in music, does non mean that it has to be exactly like the origins it came from.Certain authors have pondered that this distinction may be misleading, but charge so, have divided authenticity into several categories (Moore, 2002) first person authenticity, where original music is performed in a manner that makes the audience believe the music is authentic that is, authentically created, and performed and third person authenticity, where a doer of music succeeds in conveying the impression of having accurately conveyed the expression of an get rid of-minded-minded other (Moore, 2002). Authenticity is assumed, by many authors, to be inscribed to a musician or performer, yet this assumption is wholly wrong, in that authenticity is actually ascribed to musicians and performers. Authenticity, as a value, is something that must be constructed by each and every listener personally, according to their own response to the music in question. It is sole(prenominal) after the listener sees the performance of the music by the musician, that they can begin to understand the musicians relationship to the piece, and their interpretation of the piece, and completely then can the musician be said to have any authenticity. The following is based on this view of authenticity as an ascribed value. Eric Clapton and his music are used as an example by many authors on the subject of authenticity in music, and these discussions invariably fall into Moores (2002) second category of authenticity third-person authenticity. Eric Clapton, a highly able and consider musicia n, gained a huge worldwide following in the 1960s for his interpretations and performances, solo and with his band, Cream. I say interpretation as many of the songs that Clapton, and Cream performed, such as Crossroads, were not original songs, and were re-worked by Clapton. Crossroads was a song originally written and performed by the demesne blues star Robert Johnson (Moore, 2002). Johnson led a tragic life, dying early in mysterious circumstances, and living his life as a poor man, with only his guitar for comfort, on which he composed blues music, through which he explored his own life through distorting the sound of the instrument to provide an analogue for his own tortured soul (Moore, 2002). It is argued that, to a certain extent, when Clapton performed Crossroads, he did not authenticate Johnsons music by reinforcement, rather his interpretation of Johnsons song authenticated Claptons own musical strawman (Moore, 2002). It was the annexation of the black blues impost, of which Johnson was a part, which gave Clapton the material through which he constructed himself as an authentic performer (Moore, 2002). Claptons appropriation of the black blues tradition was then cemented by his full discovery of this tradition, from BB King to Freddie and Albert King, from country blues through to Robert Johnson (Moore, 2002). This tracing of the origins of a practice back to the originator of the practice thus reinforces the tradition to the tracer this phenomenon, and is well known in discussions of authenticity in popular music (Moore, 2002) this process is also necessarily circular, as Clapton was authenticated via his appropriation of Johnson, who was then authenticated by his appropriation by an artist he himself had a great deal of respect for (Moore, 2002), since only music that is worth acquiring get out be appropriated. As Moore (2002) argues, Clapton conveyed the message this is what it is like to be me to his audience, using the message this is what i t was like to be Johnson. Thus, authenticity of execution (Moore, 2002) arises when a performer succeeds in conveying the impression of accurately conveying the expression of an absent other (Moore, 2002), and Clapton is a particularly apt example of this third-person authenticity. Thus, during his performances of particular songs (for example, Crossroads) Clapton speaks the truth of his own situation, as during his performances, he can only convey his own particular expression of a particular song openly, frankly and therefore, truthfully. As to whether Clapton manages to convey the truth of the situation of absent others, this is a difficult one to answer. In monastic order for an audience to believe that Clapton is conveying the truth of an absent other, the audience needs to know that Clapton has respect for that absent other, enough respect to have made a thorough study of the tradition to which that musician belonged, a study which allows Claptons interpretation of that part icular piece of music to be authentic in the sense of cosmos true to its origins. As to whether Clapton speaks the truth of his own culture and thereby represents present others when performing the music of absent others, this is an even more difficult point of discussion. This point needs to rely on a means for the word culture in order to fully answer this question, and this is difficult. Can Clapton, a blank man, from a white culture, ever delve deeply enough in to a tradition to be able to authentically convey music from an entirely different (black) culture? Cultural purists would argue not, but in todays multicultural society, the answer to this question is increasingly (and increasingly believably) likely to be yes, at least for white audiences, and for blacks who agree with the idea, and principles, of cross-cultural artistic expression. However, it has to be recognized that there are certain tensions and resistance encountered in the process of cross-cultural appropriati on of music, particularly in this case, as it concerns the black community, who see their musical heritage as something pure, a badge of identity entirely their own. This is entirely understandable, particularly in reference to appropriation of the blues tradition by whites, as blues is a black music, which arose out of unspeakable inhibition and hardship at the hands of the white man. Tensions that arise from within the black community at the (mis)use of the blues tradition by whites should therefore be listened to, and could also be used as a lesson to image from. A recent book by Todd Gitlin (2001) argues that we, as a society, are becoming so overwhelmed with reading from the media, in so many varieties of the media, that we are becoming immune to its lure, and are even beginning to fainthearted away from this media onslaught. It seems that one way people can avoid this media onslaught is to search out authentic performances from authentic musicians, as this would guarantee quality and purity of enjoyment. Authenticity of an artists like Clapton, really come down to the listeners and their opinion on whether or not the artists is authentic. Music has always been about the listeners, so they are the only ones who can really decide what is authentic. Most fans will say the authentic ones are the ones who keep it real, which is conscionable another way of saying keeping it true to the original genre. Which makes Authenticity in music a very long ongoing topic. There will always be those who say he is to commercial for me and those who will think that that artists perfected and recreated a new side of the authentic origin. Artists, like Clapton, who appropriate music from other cultures, and who we can argue do this in a compassionate manner, are perhaps the command lights for many of todays media-overwhelmed generation they serve, for many, as a good introduction to the traditions from which such music is drawn, from which point the fire can do thei r own research and discover the authentic music from which such adaptations are developed. cross-cultural musical evolution can only be a process for good in legal injury of the development of music, as long as authenticity and the donor culture are respected.