A Holistic Approach to Consumption Analysis in the Popular Music Market). While the concept is often criticized at an empirical level, or at an intuitive level, the origins of consumer sovereignty are seldom explored with reference to popular music.
The most important advancement of neoclassical economics arose as a sophisticated defense of this assumption of constant preferences. The argument asserts from the outset that, 'tastes neither change capriciously nor differ importantly between people'. (Becker and Stigler, 1977: 76) the starting point is the utilization of a reformulation of consumer theory, first expressed by Becker and Michael (1974). This new theory "transforms the family [consumer] from a passive maximizer of the utility from market purchases to an active maximizer also engaged in extensive production and investment activities," (Becker and Stigler, 1977).
The theory explained various consumption phenomena usually used as criticisms against neoclassical economics, such as the role of addiction, habit-formation, advertising, and fads and fashions in consumption, and provide genuine economic explanations for these phenomena (i.e. In terms of price, income, capital). According to the theory, consumer seeks techniques that will be useful to achieve maximum amount of utility from a given market of popular music. 'Becker and Stigler distinguished between a good or service bought in the popular music market, and the commodity that is actually consumed by the individual, of which the good is just one input' (Adorno, Theodor (1976). "Mediation." In Introduction to the Sociology of Music. New York: Seabury).
Therefore the active utility maximizer uses this good i.e. popular music, as well as various techniques related to popular music, to produce extra utility, which is attached to the commodity and consumed. The techniques commonly cited as additional inputs include the amount of time spent on consumption of popular music, any skills acquired to aid consumption of the commodity, and the level of education of the consumer. Total utility is a function of the popular music that a listener wishes to consume, and in turn, each musical work is a function of some good, time, skills, education, and any other inputs that could increase utility production. These other inputs are collectively termed human capital, or consumption capital. The prices of popular music and related accessories offered to the consumer are not equal to the respective prices of the market goods; they are a function of the amount of utility produced by the consumer as the product of her inputs, the good and the consumption capital. The more positive consumption capital the consumer invests into the commodity (into utility production); the lower will be the cost of consuming the commodity, relative to the consumer's full income (incorporating monetary and time constraints). This price, not given a nominal value, is termed the music's shadow price, (Becker and Stigler, 1977). Becker and Stigler, without dropping the assumption that tastes towards popular music are constant, can account for any consumption behavior displayed by the listener resulting from adjustments of the shadow prices of the music presented to the consumer, which can result from a change in the stock of consumption capital invested into a commodity, the stock of the good invested, or a change in full income.
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Undoubtedly many Beatles songs will be around far longer than many pieces labeled as "classical," but we would still never call "Yesterday" a work of classical music. Similarly, songs like "Yesterday" can be considered as musical masterpieces just as Beethoven's 9th, but the term "classical" can still only be applied to Beethoven, not the Beatles. Therefore, pop music can be "classic" but not "classical." Classical music is a category; the
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The piano plays quick octaves and the urgent bass motive portrays an intense wild ride. This strong galloping is also being formulated by the piano's triplet rhythm which allows for the development of the dramatic storyline's urgency. 5. ) There are four different characters in this piece: the Narrator, the father, the son, and the Erlkonig. Although Schubert uses one singer to portray and sing all of the four parts
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