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How Significant Is the Profundity of a Sentiment Behind a Musical Piece?

Updated on July 1, 2019
Haydn Norton profile image

Passionate, Committed, Diligent, Creative, Eager, Aspirational, Articulate.

A prominently pertinent quandary of more than merely curious ruminative contemplation of the music industry is the issue of the fluctuating levels of prevalence, and the languishing capitulation of the eminence of profundity as expressed through the remarkably seminal medium of music. As one of, if not, the most pervasive feature of media suffusing the current zeitgeist of societal culture, it is rarely ever a topic that is omitted from conversations within spheres of civilised and uncivilised debate and discussion. And to entirely recuse oneself from a subjective verdict of opinion on the matter is a ridiculous impossibility. People can navigate the labyrinth of running the gauntlet of life, imperatively depending on a sundry of vices essential to act as an escapist outlet of fantastically divergent distraction from the mundane banality of the often morose nature of a merciless and unforgiving world, and media is the most palatable and absorptive format for that assimilation.


Throughout the aforementioned gauntlet, encounters with a verified multitude of unique people of distinct personalities transpire quite regularly, and discoveries are inevitably made throughout the process of becoming acquainted with them. It does not require the most exceptional and flourishing friendship in order to discern the preferences of an individual’s objects of desire for the outlets already alluded to, but they differ from one person to another, of course. There are people who take great pleasure in deriving joy from the resplendence of film and television, those who relish in the indulging immersion that the conduits for the vicarious experience of the narrative parables in video games, and some delight in the gratification that composing visual art grants them. None are overly outstanding as niche or eccentric elements of a personal fervour, but their popularity could be considered to be prone to waining and paling in the face of the adversity of their competitive behemoth, music. Music is revered and venerated on a pandemic scale, and although it is not unrivalled as the monolithic titan atop the pinnacle of the esteemed epitomising echelons of pristine appeal, statistically, the likelihood of meeting someone who doesn’t even harbour a remotely modest interest in music is almost completely improbable.


Music comes in many forms, and the full extents of its compositional formulation are virtually boundless. It is defined as one of the creative arts, after all. The very fabric of the tonal construction of a musical essence’s resonance is relevant to the cerebral logistics of a piece, and is an integral emissary for the articulated conveyance of the stimuli to invoke a feeling of atmospheric sensations; But there still can be a sagaciously profound element of philosophy that has the potential to touch the very pulse of a particular musical zeitgeist, despite the intangibility of any gauge of a gradable metric. The calibre of any visionary audible submission cannot be distinctly measured. The fiendish proclivity that a group of any tier of popularity can have for striking a harmonious chord deep within the soul is always an unorthodox enigma, that can only be predicated upon intuitive impulse.

The beloved muse of any individual’s personal preference can become the beneficiary of rhapsody and vehement adulation with avidity. The clamouring regard of adoring grandeur and esteemed exaltation is an asset of beauty residing in the eye of the beholder, but the devotion to those pristine pieces of invested immersion can become exaggerated as far as the admiring adoration so much that is reaches the brink of breaching the threshold of civility-And descending into the chaotic toxicity of radicalised purism. Pontifications are declared with pomposity far too frequently, and can take precedent over the mere innocuousness of passion for the apple of one’s eye through bigoted and condescending proclamations of superiority within any and every aspect of the minutia of the potential purveyances of delight-Of which, there is no applicable algorithm for the formulation of. It can transcend any medium for the platform for the broadcast of any media and eclipse rationalised cognisant regard, as intolerant stubbornness becomes prioritised over the beholding benevolence angles toward objective art.


That is the beauty of its very fibre; Creativity is not constrained to any rigidly defined and stipulated parameters of criteria being tailor-made to the requisite demands of any one individual. They are pure, and authentically sincere pieces of art addressed lovingly to a broad array of prospective consumers. There is a greater disparity of vitriolic disarray suffusing the musical climate at present however, and the divide stems significantly from those seeking resonant serenades of the symbolic portrayal of salient sentients; Political, philosophical, dramatical and even fictional. And their rancour for the baseless, trivial hollowness of juvenile songs dedicated to the futility of perpetual partying, and requiring minimal talent(as embodied by the current insurgent burgeoning genres of house, trap, techno and pop, along with other genres of that ilk) is polarised toward them sometimes even unjustly, due to the amassed reputation of debauchery that the most saturated alums of those musical classifications proudly flaunt and propagate. The prominent yearning for spontaneous jubilation with reckless abandon has inadvertently injected an unprecedented degree of controversial spite into the environment of music, along with threatening to besiege it by plundering it into a state of loathsome malaise-And although affairs are not yet so dire, the very consideration of that possibility is a testament to the ubiquitously eminent sinister staples that could theoretically eventuate.

Many advocates of the more “depraved” songs would posit that the very casual composition of their integrity is precisely what endears them to their fan bases; And, in all equity, there should be no conflict of of the validity to that. But those less than flattered by the purported temptation of that applause would retort that it is a blasphemous waste of an opportunity for the cultivation of erudition. Of course, marginalisation is not a commendable course of action to dictate the philosophy of any aspect of life, because its very foundational mandate being constructed on stereotypes and preconceived notions is insensitive, and runs the risk of fallacious decisions being exacted from the consequent influence on the perspective stance taken in the approach to the acknowledgement of the issue-Resulting in the derision of the connotatively correlative attitude of entitlement and contempt ruthlessly inflicted on the unwilling recipients of such negativity. This is no revelatory enlightenment that was previously an undiscovered mystery, but precipitous judgement more frequently than not consequently results in fallacious outcomes where the perspective on the perpetrator becomes one of ridicule.


Examples are rife within virtually element of life, but the impetus for the decision to act upon a misconstrued, misinterpreted, or unfounded notion is not a foreign concept purely because there is at least an initially rational logic behind it. It is a fact that the vast majority of pop music in the 21st century is centric in its focus upon degenerate luxuriation and over-indulgence in the privileged pleasures of sexual exploits, narcotics, exorbitant affluence, and more of a similar nature; But they aren’t the very definitive parameters of conformity to the criteria of the genre-Or they certainly shouldn’t be. As is the case with all aspects of art, no matter the objective concessions that can be made about the quality or iconography of a piece, the determination of the popularity and adulation that a piece or a catalogue of them receive is dependent of subjective opinion. The definition of what makes great art is entirely subjective, and the reiteration of that point is made to emphasise the significance of its verity. It is defined on an individual’s personal definition, and that is the beauty of its nature. While criticisms of the commercialist clamour of the capitalising devices implemented into the products of the avarice of the artists’ glaring ambition for profligate ecstasy.

Indulgence is a divine pleasure that should be relished in on appropriate occasion, but does require moderation; As the excess of it that is symbolically represented so frequently in the most prominent alums of the mainstream today can lead to a desensitisation and an over-tolerance that would lead to a pilgrimage in a hysterical pursuit of the fascinations of the objects of obsessive fixation that would be inevitably doomed to the disastrous repercussions of insatiability. While it may be detractive of the derivable amusement of the novelty that certain songs or the atmospheres they purport, and even despicable to be such a killjoy, there are elements of justification that open the possibility for healthy competition and debate of pertinent topics, and invite the service of fuelling the amplification of the desire to further pursuit of prolific passion in the devotion to personal interest, other than the mining of profit that can be exploited by those capable of a sufficient extent of materialistic rapacity.



It has become viewed as a moralistic quandary tarnishing the honourable repute of music with its desecrating defilement by the deduction of those righteous enough to deem discerning judgement upon the faulted ideology that shouldn’t be the spurring impulsive thrust of momentum driving the engineering motivation of experimentally imaginative ingenuity. A rather cynical view, that is almost inevitably imminent to proceed on a course of extremism and proselytisation of instituted idyllic aspiration, and is nothing but a peer to the corruption that the very thing it opposes initiated the evocation of. Both are toxic when allowed to be nurtured through their lethally venomous gestation. The continually relentless conflict between the contrasting philosophies of approach-one proudly advocating a diligent, and methodically aspired commencement to the creative process, and the other emitting the impression of a superficially desultory fashion-is a horrendous blemish on the otherwise magnificently majestic acclaim of art, that only seems to exacerbate exponentially as time proceeds on. It is a disgraceful and a sad state of affairs that is afflicting the atmosphere around music and all forms of art.

It is perplexing at how convoluted the methods of handling the simplicity of generalisations are, and how something so mundane could be malevolent enough to bemuse those who it perturbs to a degree of victimisation. And the complications do not cease with only the genres within the same family as pop and trap; As those genres increasingly rose to prevalence in their evolution to the prosperity of superseding the previous era of rock and metal’s dominance, the aspersions of those genres resurgently surfaced to echo those strewn toward them as they rose to the successfully recognised pinnacle of praise: “That rock and roll is corrupting the youth!”, “It purges their minds of all rational thought!” and “Metal is a degenerative blunder on the face of the Earth-Depreciating society!”. They are analogously comparable to the same sentiments expressed with spite at the mainstream genres of today, and it raises the curiosity of the correlation between the popular prevalence of a type of media and its audacious purveyance of the yielding surrender to animalistic urges. It is almost an inevitable destiny that, in order to sustain a position of privilege, a genre or a classification of any kind of palpable source of assimilative content in any art or industry must conform the the archetypical tropes of depravity in some way, shape or form.


Pop is the most virulent perpetrator of such lavish extravagance in the present day, but in the musical zeitgeist of the past, glam metal bands of the 1980s approximated themselves with the pseudo-gods that enjoyed the virtues of the life of a miscreant. Sex, drugs, alcohol, and all manner of marvellous machinations were the order of the day on the agenda for them and those complicit in the incentivised encouragement of the immersive escapism into the tangental distraction from the monumentally salient and wonderful reality of the modesty of life. Music, like televised broadcasts and silver screen pictures, has the potential to weave intricate and elaborately engrossing allegories of analogous and metaphorical significance. A superannuated, by persistently relevant and resiliently defiant of fatigue is the “Get Out Of This Town” mentality. Rock and roll artists of the 1950s serenaded fans with tonal philosophies of that nature as the foundations for the supreme dominance of the genre were laid most firmly.

The precedents set for cues to be taken from were recognised and capitalised upon by the rock bands and precursive pre-instigating metal groups of the 1970s, then by the hard rock groups of the 1980s, and eventually, the punk and nu metal bands of the 1990s and 2000s, as they became cultivated and endorsed in the suffusing cultural fascination of the respective decades. Bands such as Suicidal Tendencies, Black Sabbath, Fall Out Boy and Sum 41 are the culprits of this iconic craze to an insanely pertinent degree and received the ramifying recognised exaltation as a reaped reward. There are also groups that are more romantic or self-inspiring, such as My Chemical Romance, Slipknot, The Smiths and Linkin Park, and the more fantastically morose members of musical ingenuity, such as Slayer, Avenged Sevenfold and Dragonforce-And they offer their own unique submissions generously to their audience. What unites all of them, however, is the fact that they invest conscious effort and persevering desire to continually raise the standard of the quality of their content as they proceed to advance forth along the avenues of the meticulous construction of profound philosophies comprising their content.


Simply naming them is adequate enough to allocate due diligence to the vitality of their very existence. Disseminating sentiments of profundity and affable philosophy is a hallmark of human creation that can illustrate all of the most significant aspects of the world with more ingratiating appeal than the blatant, bluntly tenacious impact of the sombre truth of subsisting in the world. It is a consoling comfort and a reassuring inspiration to the raving fans of the sonorous tones of the music, and the contemplative rumination that they often advocate is essential to the inspired ambitious thrust forward throughout the experience of life. Without sanctimoniously pontificating about creators such as Justin Bieber or Ariana Grande or Desiigner being devoid of any capability of that conveyance, the most crucial element that the rampant following those groups have garnered hinges on is the veritable truth of the determined motivation they can nurture within the souls of the members of their fan base. Even instrumental pieces can cultivate that trait within a listener by the instigation of emotional resonance, and that seminal piece of the significance of the profundity in the sensational feeling within the atmospheric experience of listening. That is the premium of the iconic alums of music, as even inadvertently, the product of their prestige of creative calibre can be interpreted as a feature available for extrapolation and application to the philosophies of life-No matter what the verdict is.

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