By Sheila Whiteley, Jedediah Sklower
'Counterculture' emerged as a time period within the past due Nineteen Sixties and has been re-deployed in additional contemporary many years relating to different kinds of cultural and socio-political phenomena. This quantity presents a vital new educational scrutiny of the concept that of 'counterculture' and a serious exam of the interval and its historical past. contemporary advancements in sociological idea complicate and problematize theories built within the Nineteen Sixties, with electronic expertise, for instance, supplying an impetus for brand new understandings of counterculture. tune performed an important half within the method that the counterculture authored house when it comes to articulations of neighborhood by means of supplying a shared feel of collective identification. now not least, the heady mix of genres supplied a socio-cultural-political backdrop for special musical practices and concepts which, when it comes to counterculture ideology, supplied a wealthy experiential atmosphere during which assorted teams outlined their dating either to the neighborhood and foreign dimensions of the circulation, so delivering a feeling of locality, neighborhood and collective id.
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Additional resources for Countercultures and Popular Music
Part IV: Countercultural Scenes – Music and Place Music played a significant part in the way that the counterculture authored space in relation to articulations of community by providing a shared sense of collective identity. Not least, the heady mixture of genres provided a socio-cultural-political backdrop for distinctive musical practices and innovations which, in relation to counterculture ideology, offered a rich experiential setting whereby different groups defined their relationship both to the local and international dimensions of the movement.
Most of all, the modernism of the 1960s expressed a spirit of negation, an adversarial culture dedicated to destroying conventions and desecrating traditions. Berman remains dissatisfied with each of these affirmative, negative and withdrawn responses, but his survey of 1960s modernism primarily examines high culture, urban architecture and the intelligentsia while saying little about popular music. I believe that a closer look at the music of the 1960s, along with the counterculture surrounding it, will reveal a dialectical ambivalence that Berman finds in an earlier generation of modernists – from Goethe and Marx to Baudelaire and Dostoyevsky – who did not simply affirm or reject modern life but instead tried to harness its creative energies in order to transcend its limits.
As noted earlier, the form of homological interpretation that results from this produces characteristically rigid forms of explanation that do not necessarily sit well with the actual ways in which such cultural practices play out in everyday life. The ‘cultural turn’ in social and cultural theory during the early 1990s brought with it a new range of perspectives for understanding how socio-cultural identities – both individual and collective – are made and remade in ways that may reference but do not directly reflect the social structure.
Countercultures and Popular Music by Sheila Whiteley, Jedediah Sklower