![]() This trend began much earlier in the century and was driven by technological changes as well as changing social habits. ![]() Both were true for popular music in the 1960s since a new generation had the time, and money, to buy records and attend clubs and dances. Fields work to establish their autonomy the dynamic of their change is also often driven by fast expansion in size. The music/ rock field itself underwent enormous change in the 1960s. Nevertheless, King Crimson I could not be politically (with a small ‘p’) neutral since they entered a cultural field, the power dynamics of which included fields, which operated closely within power relations with respect to each other for example, commerce, the media, education, etc. ![]() And, it is arguable that its members took inspiration from worlds – both musical and literary – which immediately preceded the 196os, albeit hybridized into new, contemporary avant-garde forms. The music of King Crimson I was clearly not politically orientated, say, in the way that some Folk music was. These were years of creative exuberance, on the part of the younger generation at least and, yet, they were also politically troubled years, including war, assassination and civil unrest. At the same time, it was a period that took in the explosion of culture – in all shapes and forms – of the 1960s (mostly delineated by The Beatles’ first and last LPs – Please, Please Me (1963) and Abbey Road (1969)). As a period, it is generally typified socially as ‘post-war’, and as one of industrial decline and decolonialisation for the United Kingdom. Briefly, therefore, this section includes an analysis of the general socio-political conditions of Britain in the 1950s and 60s. This part 3 initially covers the third level of such an analysis, Fields within Fields, and looks at the general socio-cultural conditions in Britain, which led up to the events of 1969.Ī consideration of the formative years of the members of KC1 needs to include a range of economic, social and cultural events, most of which are linked, and all of which shaped the zeitgeist of ITCOTCK. Part 2 included two levels of a Bourdieusian Field Analysis: the habitus and personal dispositions of those involved ( level 1) and an account of the music field of the day ( level 2). This exploration has also been interspersed with personal (naïve) recollections of my own – of another habitus, another psychology in time and what it was like to live it. Paper Mate Clearpoint 0.5mm Mechanical 2 Pack New Shipping Free Shipping of 56934 Pencils $7 Paper Mate Clearpoint 0.5mm Mechanical Pencils, Pack of 2 (56934 Office Products Office School Supplies Writing Correction Supplies $7 Paper Mate Clearpoint 0.5mm Mechanical Pencils, Pack of 2 (56934 Office Products Office School Supplies Writing Correction Supplies Office Products, Office School Supplies, Writing Correction Supplies,(56934,of,$7,Pack,Mate,/encharge835502.html,Pencils,2,Paper,0.5mm,Clearpoint,Mechanical Office Products, Office School Supplies, Writing Correction Supplies,(56934,of,$7,Pack,Mate,/encharge835502.html,Pencils,2,Paper,0.5mm,Clearpoint,Mechanical Paper Mate Clearpoint 0.The previous two parts of this essay offered a range of readings of King Crimson I: their music as an aesthetic experience biographical fact and possible psychological dynamics which underlie their creativity and how these might be shaped by a socio-cultural framework which seeks to articulate the relationship between individual subjectivities and the objective social environment within which they find themselves - how lives are lived from the inside out, but also created from the outside in. ![]()
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