The Accessibility of Music: Participation, Reception, and by Jochen Eisentraut

By Jochen Eisentraut

Questions of musical accessibility are appropriate to so much musical contexts yet what does this time period suggest, how can we make touch with track and the way can we make a decision what tune to hear? In The Accessibility of Music Jochen Eisentraut argues that musical decisions are frequently dependent upon implicit attitudes to accessibility, which must be pointed out and uncovered. Surveying various disciplines, together with sociology, psychology, aesthetics and cultural thought, Eisentraut investigates how and why tune turns into available and the impression of accessibility on musical and social hierarchies. The e-book is dependent round 3 significant case reports: punk vs innovative rock, Vaughan Williams and his rules on paintings and people song, and Brazilian samba, either in situ and in an international context. those are used to bare elements of musical accessibility at paintings and function a springboard for discussions that problem authorized rules of musical price and that means.

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Extra info for The Accessibility of Music: Participation, Reception, and Contact

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For those who are highly susceptible to boredom, one could posit a ‘converse accessibility effect’ which makes easily understood music difficult to stomach for extended periods, and generally less accessible music more attractive.

The ability to transfer these to a portable player means that the great array of music available online remains accessible while one is mobile in the world. Stockfelt points out that: The sound of big opera ensembles can be fitted onto a windsurfing board, and the sound of a nylon stringed guitar can fill a football stadium. (Stockfelt 1997: 135) Any kind of music can be heard anywhere and obtained via the same media. This has a levelling effect, turning music into a unified abstract commodity which may be patterned in various ways.

I believe that it is, for a number of reasons. One is that casual uses of ‘accessible’ do tend to be useful and meaningful in their context and so should not be dismissed out of hand. Another reason is that there are many implicit and explicit valorisations of musical accessibility, and indeed inaccessibility, in specialist discourses. An example might be found in guidelines emanating from Arts Councils1 when they are seeking to reach a wide audience, or broad participation, for a project. A music critic may sneer at an attempt to make ‘art’ music accessible by presenting it in an inappropriate way.

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