Music Appreciation: An Argument Or Aesthetic Quality?

the music as opposed to the performance. This appears to turn the entire idea of authenticity on its head. It can now be reasoned that musical recordings that are artificially enriched present the most authentic being of the music, and that performances are challenges to recapture that authenticity. If post-production editing is scrutinized in the equivalent way as Fisher uses in the example of rock recordings, then feasibly there is an argument to make that the aesthetic quality of the listener is negated when they are expecting to hear the same performance they had heard recorded live. Again, this all leads back to the argument for the recording itself being the standard. Subjective value judgments are categorized on how thoroughly
This is an argument I would embrace. From my principium individuationis, I think that performances, such as Levon Helms singing “Atlantic City,” or studio recordings, such as, Pink Floyd's concept album “Dark Side of the Moon,” are both paradigms that could fall victim to a charge of inauthenticity. Where someone would declare these examples inauthentic, under the second tenet of the music being performed live being more authentic, I would contend they are as authentic as it gets under the first tenet of performing the work, and then the work is defined. Both examples seem to embrace Fisher's theory of Rock ontology, and as such, would be authentic. There is certainly no way to answer the question impartially. The wrongness and rightness of musical recordings, or performances, genuinely depends on the subjective values that the listener attributes to it. Therefore, I must conclude that there are no necessary features, but only mere tendencies, that delineate between authentic and inauthentic performances. The idea of authenticity being an oppositional conflict inter authentic and inauthentic performances does not reveal the complete account. There is also an ethical insinuation that originates directly from the commercialization of authentic music. This leads to questions about the moral obligation to play
By performing the blues, it could be alleged, that white people are stealing the cultural heritage of black people and monetizing it. In addition, when a white person performs the music, they are conveying a music style intrinsically possessed by black people, setting up a dispute of ownership. Rudinow's essay ensnares a great portion of the problematic ethical trepidations inherent in musical authenticity, and comprehended through the lens of cultural appropriation. As a more recent example of this problem, there is no need to look further than the half-time show of Super Bowl 50. The performance, featuring Coldplay and Beyoncé, was absent their most recent collaborative song “Hymn for the Weekend.” The song itself suggests no indication of it being culturally appropriated; however, the video for the song is set in India during the celebration of the Holi festival. Once the video is observed, then an awareness for the fine line between cultural embracement and cultural appropriation can be deliberated. The first problem evident in the video is that the imagery depicts only the inner-city uniqueness of Indian culture. The imagery shows Hindu religious apparel, inhabitants dressed in Ganesh regalia, and even glorious rivers for the children to play