Theodor W. Adorno

1. Theodor W. Adorno Popular music and Standardisation.

2. Biographical details • German sociologist, philosopher, musicologist and composer • Member of the renowned ‘Frankfurt School’ of cultural studies • Developed ideas of Karl Marx – ‘Marxist interpretation’ • Theory of popular music one of most well known of his analysis of the culture industry

3. His theory of popular music • Adorno claimed that popular music is negatively dominated by two processes: • standardisation • pseudo-individualisation

4. So what’s he saying about pop music? • His idea at its most basic is that popular songs come to sound more and more like each other • He distinguishes pop music from classical music which he sees as the superior form due to its lack of ‘standardisation’

5. Standardisation • According to Adorno this refers to the substantial similarities between popular songs • It defines the way the culture industry squeezes out originality from the music it produces • Standardisation means that pop songs are becoming more and more alike with interchangeable parts, verses & choruses

6. Pseudo-individualisation So, if this is the case, why is popular music popular? • This question is answered through Adorno’s other key concept: Pseudo-individualisation This refers to the way that a pop song provides a ‘hook’ an apparent novelty or uniqueness for the benefit of the consumer

7. Adorno saw that Pseudo-ind. disguises the process of standardisation by making songs appear more varied and distinct from each other than they actually are Pseudo-ind. is necessary to keep a sense of individualism for the listening and purchasing public and in order to maintain consumption

8. Adorno sees standardisation as keeping customers in line by aiming at standardised and uniform reactions • whilst pseudo individualisation is merely the “veneer of individual effects”. These work to mask the standardisation and make listeners think they are hearing something new and different • He sees pop music listeners as childlike, having been socialised into demanding the same type of music again and again

9. What drives audience need for popular music? Adorno believes: • consumption of standardised products mirrors the repetitive, boring nature of their working lives • pop music allows listeners to become distracted by the demands of reality because, unlike classical music, it is entertainment that does not demand attention

10. Popular music as ‘social cement’ • Adorno also sees pop music as a medium which allows listeners to accept the dull reality of their lives • pop music’s cathartic and comforting qualities enable people to accept the unfulfilling nature of a live in a Capitalist society “catharsis for the masses but, catharsis which keeps them all the more firmly in line”

11. Critique of Adorno’s theory • Gendron (1982) looked closely Adorno’s ideas • He applied to the Dee-Wop genre of music, popular in the 1950’s • Gendron found elements of standardisation (use of established song patterns of R&B, interchangeable ‘shoo-be-doos & dum-de-dums) • However, he saw the theory as too limited…

12. What does Adorno’s theory not recognise? • The effects of technological advances these can be used to create greater differentiation between pop music genres • That popular songs advertise both their individuality and their interchangability if we like a song within a particular genre, we will probably like others in the same style or genre Therefore, argues Gendron, standardisation can also be a source of pleasure

13. Adorno: to sum up He is of the belief that: • popular culture is one reason why people become passive • differences among cultural goods (including pop music) make them appear different but they are merely variations on the same theme • popular culture creates false need. The true needs of freedom, creativity or genuine happiness are satisfied only by the more difficult, high arts