Music without Aesthetics: How Some Non-Musical Forces and Institutions Influence Change in Black Music

Abstract

purpose of analysis, I have chosen to identify these factors as non-musical forces and institutions. They are identified as such because in a more strict sense of categorization, these elements are more appropriately identifiable with some other entity. In this respect, how these forces actually function is the key in determining categorization. For instance, I have chosen to designate record companies as non-musical because I perceive a record company mainly in its capacity as a corporate entity or a business enterprise. To be sure, there are more of these institutional forces that could be readily identified in this presentation, but for reasons of time and space, I have limited these factors only to those which I feel are more pervasive in their effect. Inasmuch as the focus of this paper is on change, a word or two clarifying my own concept of change is appropriate. Implicit in this concept is the problem of precisely how change is measured. In the first instance, it is my feeling that any concept of measuring change reeks excessively of a qualitative approach. Conversely, I view the notion of change essentially of where one is mentally and intellectually at any given time. As this intellectual phenomenon shifts to various levels, a state of change is indicative. It would then follow that to identify and analyze these different levels would imply measurement to some degree. Foremost among the influential forces responsible for change in black music is that of business and economic;*. Unfortunately, black music that is to be exploited for its commercial value is obligated to be created and disseminated to its listening audience in the milieu of economics. Owing to the relatively uncompromising nature of the American economic environment, the impact of this particular influence is tremendous. As one American president of the twenties so