Cultural Relativism

Derek Scott (editor) has gathered together a fantastic compilation of articles/interviews/extracts addressing various aspects of Music, Culture and Society. The next few posts to this space will consider some of the key issues that arise from these papers. I would be delighted to hear of any other views or interpretations that might be relevant to these materials.

In the introduction, Scott raises the notion of ‘musical relativism’. He states that an evolution has taken place in socio-musical theorizing and a departure made from the dichotomy of high and low culture. Escaping the tendency to distinguish between bourgeois and proletarian music enables for the recognition of high and low classifications within particular genres.

He considers the current theoretical perspective to be one of relativism. Culture is directly relevant to its social context (which amongst many things includes technology) and these factors contribute to the construction of meaning.

In examining the concept of relativism, Scott briefly discusses how environmental issues have already contributed to the development or popularity of new styles. He notes in particular with respect to the development of World Music:

The New Acoustic Roots movement was to a great extent, born of rejection of electronic-acid-rain-producing, energy-consuming, urban/industrial society…

He also claims that the increased focus and awareness of environmental issues since this time, will obviously impact on how music develops into the future. The question I raise is: will this be to an effective extent?

The concern I have is with respect to the competing interests that make up this ‘social context’. On the one hand we have conditions such as the regulation of the internet and copyright law attempting to restrict production and reception, and on the other immediate social concerns that need to be heard.

One can well imagine the potential for music to educate and motivate the public and to establish a community identity which spurs government bureaucracy (and perhaps even corporate citizens) to act, to prevent global warming and other imminent disasters. But one can also easily imagine the constricting influence of other factors and the way that these messages may be prevented from reaching the volume of listeners required to have such a positive impact.

Perhaps culture is relative but the key question has to be; relative to what? The label of ‘social context’ does little to address the dominance of some factors over others. Whilst relativism remains largely determined by economic and corporate interests the rest that is relative will no doubt be cast in shadow; and this may well, in the end, be enough to prevent music of this nature from having the impact we need it to have.