Yes, probably one of the two... RTL was rather the north of France, Europe 1 was very popular from Paris to Lyon, even Valence... further south, it was RMC.
This was the time when the "peripheral" long-wave radios were all powerful.

 

I'm sorry that you have so little familiarity with Art history. But don't worry: I'll help you now.
It always happens like this: whoever imagines new ways of reading the present is always the artist, he / she with his visionary talent continually invents new creative solutions to cultural stalls. From there, then technicians, engineers, scientists, politicians, businessmen will develop and implement ideas.

Leonardo Da Vinci, Mozart, Ernest Hemingway, Stanley Kubrick, Bob Marley, to name a few, have imposed an acceleration on the culture of their time. We still have to thank these people today.

If you are a musician and to improve the destiny of the human being it is not your ultimate goal well ... you are probably just a sound beautician or a keyboards janitor

 

Last edited by a moderator: Sep 20, 2019

and what has that to do with the current music industry... ?
i tell you : nothing ...
--

and only the best
wtfff#

 

apart from that nobody has break down the marked here...
nobody talks bout the different listeners groups..
bla bla

 

Last edited: Sep 20, 2019

Of course it can be molded. Humans can be brain washed just like machines which can learn. Repetition, putting it in front of their eyes and ears they gradually become the thing the see or listen without even noticing it. It is an important concept which can be talked about for several hours without even getting into its details.

 

brother, you have to do something about your alcohol addiction
come on, you can do it!

 

I think there should be a specific word besides trolling for when someone starts a thread with an quasi intellectual question based on false premises and with no interest interacting with the answers given in it.

@Olymoon Whatever it ought to be called it most certainly should not be: ”a legit question”.

 

It's a commodity, like baked beans? Nobody gets very excited about what beans they eat?

There is surely far more music, with more variety and quality than ever before. And way more junk too.

Fine art is much the same? More of it than ever before but Cubism has been done, and there are only so many things one can paint (only 7 colours, only seven notes)? Maybe we've exhausted the media? I mean it is *everywhere*. In fact it's nice to escape it and just listen to the silence, watch birdies fly in the sky, smell the flowers, see the sun set. Why fret about it?

 

Unfortunately I have to agree with you about OP's intentions. . And I'll take the necessary measures.
But that does not make the question less legit .

 

Last edited: Sep 21, 2019

I have a word for it... "fosturbation". It's compulsive, gets everyone's fingers working, and it usually comes to a sticky end.

 

This is the main reason for the spoilage of every high value:

https://en.wikipedia.org/wiki/Revolutions_of_1848

 

I found a comprehensive book about taste:



The date of publication: April 30, 2019

TOC:

• PART ONE: A GIFT OF THE GODS
  • two Under the Musical Hood: An Orientation
  • three Melody: The Face of Music
  • Interlude A: The Evolution of Musical Taste: Music and Anthropology
• PART TWO: BAR BANDS IN ANDROMEDA
  • four Harmony: The Internal Body of Music
  • five Rhythm: The Movement of Music
  • Interlude B: It’s the Overtones, Stupid: Music, Math, and Physics
• PART THREE: UNITY AND HETEROGENEITY
  • six Form: The Shape of Music
  • seven Sound: The Personality of Music
  • Interlude C: The Singing Cerebrum: Music and the Brain
• PART FOUR: MUSICAL METAPHORS
  • eight The Musical Genotype
  • nine The Pop Genotype
  • Interlude D: At the Cellular Level: Music and Cell Biology
• PART FIVE: PARLEZ-VOUS GAMELAN?
  • ten The Rock Genotype
  • eleven The Jazz Genotype
  • Interlude E: Listening with an Accent: Culture and Musical Taste
• PART SIX: QUESTIONING THE OMNIVORE
  • twelve The Hip Hop Genotype
  • thirteen The Electronica (EDM) Genotype
  • Interlude F: Staking Your Claim: Intraculture and Musical Taste
• PART SEVEN: WHO ARE YOU, ANYWAY?
  • fourteen The World Music Genotype
  • fifteen The Classical Genotype
  • Interlude G: Mind Over Music: Psychology and Musical Taste
• PART EIGHT: YOUR HIT PARADE
  • sixteen The What and Why of Musical Taste
• EPILOGUE: Living with Music

PREFACE

When I was twenty-three, my buddy Glenn Georgieff and I sold all of our belongings and flew to Paris, where I spent the next two years studying composition, playing jazz, and searching for answers to questions I hadn’t quite yet formulated. By the end of the first year, we’d built up a pretty good circle of friends, mainly other expats but also a few bons Parisiens. During one of our regular dinner soirées, one of our French friends stood up, a few glasses of Beaujolais in, and proposed a game where she would go around the room and align each person with a literary genre that matched their personality. To Glenn, at that moment an aspiring novelist with bohemian tendencies, she tagged “un roman” (a novel); to another, a rather quirky and colorful girl in our company, she assigned a haiku. She then turned to me and stared a while; finally she said, “I’ve got it: you’re … an encyclopedia.”
In truth, I felt a bit insulted: As the one active artist in the bunch, shouldn’t I be aligned with something more romantic, more aesthetic—I don’t know, maybe a sonnet, or an epic poem? And while I still think I got shortchanged in my literary nom de guerre, I must admit that there was—and is—truth there. Beyond my creative aspirations, I have always been prone to want to see the bigger picture, the story behind the story, the history that gives rise to the present reality. And so, as clichéd as it sounds, this book is literally decades in the making—a chance for me to be encyclopedic for a change, to wax comprehensive about the topic that has defined me since I first plucked out “Three Blind Mice” on the piano by ear, at the age of four: music.
In the years since Paris, I’ve managed to successfully formulate a good many of the questions I couldn’t quite articulate in my youth. I’ve even managed to find a few satisfying answers—about music, if not about life in general. This book offers the most comprehensive evidence to this former claim: my best attempt to explain not just what music is, but why it matters to us.
Enabling my audacity to tell this story have been a few facts along the way. The first is my lifelong commitment to music education—formally via a bachelor’s degree in piano and composition, a master’s degree in composition, and a PhD in musicology; and informally via perpetual self-study in myriad music-intersecting disciplines: history, philosophy, physics, neuroscience, sociology, and psychology.
The second source of this audacity is my similarly eclectic approach as a composer and pianist—working across multiple styles, or “species,” as I’ll soon label them, from practically my earliest attempts. Even today, most of my compositional and performance efforts will inevitably involve mixing a bit of this style and a bit of that style, in search of some fresh musical expression.
The third and perhaps most consequential source in enabling this book is the good fortune I gained in 2000—when I was tapped to be the chief musicologist for a tech start-up: the company now called Pandora. Never would I have predicted in 2000 that this company, and its “Music Genome Project”—of which I am the architect—would become so widely utilized by music lovers throughout the US and beyond, and so influential in the digital music revolution of the early 2000s. This fortuitous opportunity has no doubt given me the bona fides to write a book about musical taste. But more practically, my work at Pandora enabled me to dig into all realms of music more deeply than I would have otherwise; it forced me to approach musical analysis and musicology in ways I hadn’t previously; and it allowed me to confront headlong a profound mystery I hadn’t even considered before: What is musical taste and where does it come from?
Indeed, I liken this book to a “mystery novel”—a musical whodunit: only at the end will you truly know the whys and wherefores of your musical taste.
Why You Like It is indeed about musical taste, but it also touches upon many other subjects that skirt along its edges. As I like to say, discussing musical taste gives me the opportunity to talk about music in general, since every dimension of music—its history, theory, practice, aesthetics, science, culture, psychology, etc.—impacts what music we like and why we like it. While this presents terrific opportunities for an “encyclopedic” guy like me, it also poses serious challenges—not least the daunting need to synthesize and explain everything related to music. This accounts for the wide scope of topics tackled in this book, for better or worse. Yet, to the degree that I’ve succeeded in my efforts, this broad approach affords a potentially rich bounty to lay nonmusician readers of this book: to not only better understand their musical taste, but also to heighten—even change—how they listen to, and think about, music. This is the case, moreover, whether your tastes are limited to the boundaries of pop, rock, jazz, hip hop, electronica, world music, or classical—or whether, like me, they transcend multiple musical domains.
This book is first and foremost aimed at the “average” music lover, not the trained musician. To be fair, it skews a bit toward those with a modicum of musical background—having taken piano lessons as a child, for example. It should also be noted that this book cites the names of lots and lots of musicians and composers—from every era and genre. While in many cases these names will be accompanied by a brief contextual description, in many others they will not—namely, when the person is particularly prominent within the genre in question. If you encounter a stand-alone name you are unfamiliar with, do not panic: you are instead kindly invited to look it up on Wikipedia, etc.; after all, learning more about famous musicians should be a welcome goal of anyone exploring musical taste.
However, rest assured that prior music training is not a prerequisite. Nor is this book aimed at academics or professionals in the fields of anthropology, physics, neuroscience, sociology, or psychology—although some broad awareness in one or more of these fields won’t hurt. At the same time, it is my sincere hope that professional musicians, as well as academics in science, sociology, or psychology, will gain something of value from this book: I know I did in researching and writing it.
There is, of course, a rich tradition of technical books about music written by musicians—including composers—aimed at lay readers. Standing in the wake of related efforts by giants like Leonard Bernstein (The Joy of Music, The Unanswered Question: Six Talks at Harvard), Aaron Copland (What to Listen for in Music), and Virgil Thomson (The Art of Judging Music)—not to mention celebrated academics like Dan Levitin, Elizabeth Hellmuth Margulis, and David Huron—I am humbled and a bit petrified. I’ve done my best to learn from their superb models in combining technical discussions with clear examples, personal stories, and humor.
My apprehension at not living up to the high bar of my models, however, has been superseded by my passion to share this story of music and musical taste with those willing to pick up this book. For years, indeed, I would tell friends and strangers alike: “Someday I’m going to write a big book about music.” Remarkably, that someday actually happened.

 

Individual and public tastes have always acted as the most powerful (not to say the only) stimulus to all changes in all fields of humanity. Public tastes are disposed to simplification and thoughtless emotional expressions but on the contrary, individual ones' are inclined to rationality and knowledge-based intellectuality.

Art must be looked at in historical contexts due to its chronological background. Music's detailed study shows that every time, the individuals have abdicated their responsibilities to general public, its deterioration has been definitely awaited. This phenomenon is unchangeable.

 

thats great. How about you start reading it, and share your thoughts on it ? right no!

 

Are the general public's tastes changeable?

Of course they are... But I would suggest that it's not a great question.

There is reluctance for people to be open minded about music once people have found their thang. A lot of people use music as a way of trying to identify, as opposed to some higher sense of enlightenment, art or entertainment.

https://www.forbes.com/sites/hughmc...he-10-betselling-albums-in-the-world-in-2018/

'Combined, the 10 bestselling albums in the world in 2018 sold 17.7 million copies'

I know it's perhaps an unfair comparison but the best selling single in the UK is Elton Johns Candle In The Wind sold just under 5 million in the UK alone...

Super interesting and related subject.

https://en.wikipedia.org/wiki/Noise:_The_Political_Economy_of_Music

Amazing ideas considering this was pre digitisation and pre internet.

More info.

https://www.bbc.co.uk/programmes/articles/4DPlqbH9FllrH4sR6494hhf/meeting-musics-nostradamus
https://www.bbc.co.uk/news/magazine-34268474

 

i dont '''drink''' since years eh eh..yestrday on rooftop construction i drunk 2 beers woohhoooo...

and again..no arguments..totally not knowing what up...(which everone here knows btw)
then you have to humilate ppl with totally made up lies coming from youre own set of thinking eh eh...great dude you are...so exemplary

and that you dont get that art as nothing to do with current music industry says much ...
no single artist has any weight ,pressure or force to alter the music industry...

wtf..in which world you live.. a recycle world
is that what youre art or music teacher told you back in school or what..

unbelievable
and you say i should lay of consciousness altering chemicals like alcohol...lol

 

Last edited: Sep 22, 2019

this will be going to be much shittier...cloud and abo shit music right from companys over the ether into the dumb brains...
ok this is radio...
then there is scoring which have biggest output on proper stuff but scoring stuff..
and shit edm field will be there...

live music like blues and jazz...come on...they will not die..but they will be 1%ers , just like good EDM music will be very low percentage have of listeners in compere to the masses..
orelans never came back like before the flood e.g.
and who has money for the opera , for sho noone from working class which in the meantime is going back to slave class...what do you guys expect...just look around...

in my town there was 55 pups and half of them where playing jazz and blues and whatever on daily bases..thats utopic nowadays..noon of young ppl even would believe..

 

Last edited: Sep 22, 2019

Without a shadow of doubt, the public's taste changes according to whatever you spread on them; marmalade, sushi, bacon, whipped cream, chocolate or......