"Whoever messes with my neighborhood does not like me". Alternatives to Standardization in Popular Music Analysis

Aunque Theodor Adorno no es responsable de la dicotomía musicológica que separa una auténtica música del pueblo de los supuestos fetiches con que la industria coloniza la subjetividad colectiva, sus trabajos sobre música popular contribuyeron mucho a fortalecerla argumentalmente. Este trabajo ensaya una refutación utilizando los medios del propio Adorno: el análisis de la materialidad musical. Apelaremos a un componente deliberadamente ausente en su obra: la transculturación de las músicas afroamericanas.Although the musicological split between an authentic music of the folk and the fetishes used by industry to colonize collective subjectivities was not created by Theodor Adorno, his writtings about popular music strengthened its arguments a lot. This paper essays a refutation through Adorno’s own means: the analysis of music materiality. I will take into account one aspect deliberately left apart in his work: transculturation of Afro-American music.Facultad de Bellas Arte