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By Francis Kleynjans

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Extra resources for A l'Aube du Dernier Jour (Guitar Score)

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It must be recognised that economic power does have a residual base in institutional structures and practices; in this case, the record companies and their drive for market stability, predictability and profit. The point is that this power is never absolute. Understanding popular music 28 Also central to left analyses emphasising the economic, is the conception of ‘authenticity’, which is imbued with considerable symbolic value. Authenticity is underpinned by a series of oppositions: mainstream versus independent; pop versus rock; and commercialism versus creativity.

I then extend his analysis to the international scene and subsequent developments in the music industry, and conclude with an overview of the state of the industry as it enters the 1990s. Against this ‘empirical’ background, we can then reconsider the validity of the base v. superstructure debate. One important point demonstrated by such an historical analysis, is the significance of what could be considered contextual factors in the shaping of popular music: for example, the relative importance of particular genres, the dominance of certain forms of radio format, the role of technology, the shifting status of record company majors and independents.

The years 1956–1959 were ones characterised by competition, according to Peterson and Berger, as independent labels carved out a prominent market share and the majors attempted to reassert their dominance. Innovation was also prominent, as evidenced by the decline in the number of charting cover versions, new artists grabbing a bigger share of the hits, and a greater diversity in lyric content. There followed a period of ‘secondary consolidation’ (1959–1963); the number of firms in the market stabilised at about 40, though with eight firms getting about half the market share.

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A l'Aube du Dernier Jour (Guitar Score) by Francis Kleynjans


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