To what extent might it be considered that a new aesthetic paradigm is emerging in the 21st century that makes the study of 'aesthetic' in relation to music somewhat obsolete? Introduction In the current age of new technologies, new media, and new ways of appreciating and enjoying art and the aesthetic, there have also been new ways by which the study of aesthetic in relation to music has become somewhat obsolete…
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It is digital and born on the internet (Bridle, 2011). It is generally intelligent and it is diffuse and includes different smaller pieces which are loosely connected with each other. It is a collaborative desire to cover different elements of aesthetic activity, including music, painting, dance, sculpting, photography, and glitch imagery (Bridle, 2011). One of the major contributors to the idea of the new aesthetic has been seen in the establishment of the way in which digital activities and daily activities are gradually connecting with each other. The new aesthetic also secures a starting point in the assessment of Marx’s theories of machines (Sterling, 2012). It shifts from earlier discussions on machine labour being an extension of human actions, in the end, eliminating human barriers which is seen in designers and those who follow these designs. The New Aesthetic indicates a change in production different from Marx’s perspectives. As machines are dependent on human control according to Marx, those seen in the New Aesthetic work eliminate the human element (Bridle, 2011). They consider digitalization, and eliminate the human labour involved in the production elements. ...
Such paradigms also do not invite other song and genre choices which are actually the more popular choices among the greater youth population. Popular music is not represented in the music education programs, and as a result, most of the materials which the teachers and students work with are irrelevant. The public and private sector teaching posts have decreased in terms of music teachers and musicians, including audience numbers (Abril and Gault, 2008). The current music educational system is actually not sustainable. The entire system is gradually being eroded on all sides, especially with teachers not being in touch with what is current, what is relevant in the music education system. The problem is very much extensive and complicated (Moore, 2011). It is therefore important to assess the music industry and the educational trends in order to understand the current issue. It is also important to evaluate how music relevancy can be utilized as the basis for securing flexible education models and reviving the music programs in schools. Music education as seen from a music relevancy perspective would consider the music held relevant by the community (Abril and Gault, 2008). Such music education would be very much valuable to students especially as it would provide perspectives into the music that they are exposed to and are listening to every day. A music education curriculum which is strongly in line with the current music trends would be focused on current popular trends, including rock, R&B, country, Hip-hop and alternative music (Abril and Gault, 2008). Instructions in music instruments would mostly be on guitar, keyboard, drums, and other popular musical instruments. These new ...
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