In "Music and Identity," Frith describes a link between collective identity in society and identity in music. One aspect of his claim is the idea that individuality in music is reflected in one’s personal sense of self. He also claims that the act of listening to music is both an assertion of individuality and of fitting in with the crowd. These two forces are contradictory, but in the same way popular music shapes popular culture and a sense of collective identity, listening to music can also influence one's sense of self. As the author states, "Identity is not a thing but a process." This quote effectively sums up Frith’s idea of the “mobile identity.” The author describes personal identity as an experience that evolves. Individuality in music reflects the experience of the artist, but just as identity evolves, experiences also evolve. A listener may relate to the music yet experience the music in a completely different way than the artist had initially intended. According to the author, this separate experience is equally meaningful because it can shape and form the identity of the listener. The personal identity also forms a part of the collective identity of the society, which is also in a state of constant flux.
The most confusing part of Frith’s argument for me was his description of the struggle or discrepancy between “the high and the low.” I wasn’t sure whether he meant the clash between underground and mainstream or a more vague distinction between music made for its meaning and music made for its appeal. Frith continues his argument with a notion of space and how the performance arts manipulate space to create meaning. According to the author, all artists and even all listeners have a unique aesthetic experience that is constantly evolving. Personal experiences are unique in certain ways, but also have a strong connection to the collective identity of the community.
No comments:
Post a Comment