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“Authenticity” in Pop-Discourse
Journal of Popular Narrative
2009, (21),
pp.345-370
DOI :10.18856/jpn.2009..21.010
Publisher : The Association of Popular Narrative
Research Area : Interdisciplinary Research
DOI :10.18856/jpn.2009..21.010
Publisher : The Association of Popular Narrative
Research Area : Interdisciplinary Research
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One of the main discussions in popular music, which constructs as a cultural sphere its own characteristic and function, is the problem of value judgement since popular music has differentiated from artificial or folklore music categories. The consideration of the question whether a united canon of aesthetic could be applicable to complex and diverse popmusical practice remains incomplete. However it is also necessary that the fragmentary approach and definition to popular music should be critically examined, such as quantitative or qualitative approximations to popular music. Based on this context this paper searches for the term "authenticity" in pop-discourse. The concept of authenticity usually used be in the theoretical and colloquial field, as if that were a 'qualitative and aesthetical criterion', but on closer inspection it operates differently from the "origin" "essence" "nature" of musical "author, player, work" in the use of artificial and folk musical ideas. This paper proves through the reflect on its historical configuration that the notion of authenticity in the popmusical discourse occurs from the change from the dominant way of medialization as some symbolic value, it is also constructed through a historical process. Conclusively it makes clear that the conflicts around the term of authenticity in the pop-discourse are not reference of the difference in real existence of authenticity but the difference in the way of medializations of popular music, and in its sensual perception and appropriation.
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