Is professionalism dead in contemporary music?

The question might seem trivial or, at least, reductive. In reality, I’m referring exclusively to those genres that pump with the sound of millions of streaming reproductions!.. on the well-known fastfood music platforms, which nowadays rule especially among those who really have time to listen it: young people.

The backing tracks are all synthetics – it’s a fact – and, well that goes, they are mixed with ridiculous samples of real instruments, just remembering the relationship with the concrete music! A defeat, let’s be clear, but the voice wins the distorsion award, with the constant and massive intervention of softwares that electrify it (or, better to say, correct it!.. since without Auto-Tune it would be pathetic) and makes it attractive to the market (or, again, is the market affected by the ineptitude of the music scene?).

In any case, criticism aside, can we really say that the new generations don’t make quality music? And, could the obvious fact of being musically unknowing, be the proof that they don’t know how to work?

It seems strange even to me, but maybe it’s a little like being car pilots: no need to know the laws of thermodynamics, to understand the optimal moment in which to use the gear shift, or having notions of vector physics, to understand the maximum centrifugal acceleration that tires tolerate. There are instinctive components linked to the experience and this unequivocally control everything. 

Similarly to what happened in the glorious past, where a man called Jimi Hendrix understood music despite a great lack of conservatory education, maybe the modern trappers can be considered competent as well. 

Ok, don’t beat me for the apocalyptic blasphemy already said, I didn’t explained all, because compared to the various Hendrixes, today we perceive very serious shortcomings from the practical side: no longer need to be Serj Tankian in singing – there is a team of nerds with the PC who will make everyone looks like an Arabian nightingales! And no more need to know how to play anything – the previous team will help our modern Mozarts again.

Really, really beautiful to denigrate this specific (and insane) world, I admit, but seriously, a great component of taste and intuition it’s anyway requested to that “artists”. Not all of those who are successful are valid and, certainly, success is not a yardstick to evaluate artistic skill, but among these, someone has the experience and the ability to obtain appreciable results, albeit only and exclusively assisted by modern technologies, for modern tastes. 

So, can new geniuses being considere as monumental as monument like Hendrix?

The answer, unfortunately, is another question: can experience and good taste, applied to modern devices, be equated with as much experience and good taste, applied to the incredible complication of having absolutely exceptional skills on the practical side? What would the aforementioned Serj Tankian and Jimi Hendrix have been if they possessed all this potential within them, but the vocal cords of the first had been crossed and the hands of the second had been apple pie?

Today you can be good and have intuition and even competence, without doing practically anything in person. The new generations are living manuals of how to obtain results in this ecosystem, but with tools from the real world – tangible, touchable, physical – they would not know how to play.

Antithetically, as the early metaphore timidly tried to anticipare, F1 pilots really drive at 200mph and Valentino Rossi really caresses the asphalt with the visor of his helmet, while Mark from Illinois, between a crumb of potato chip in the navel and the other, can maybe gain the new world record in the Indianapolis track, with his Ferrari in 4K, holding his joystick, but on his electric scooter he will get crazy if he’ll hit a hole. And yes, it makes sense, in my opinion… If nothing else, at least as the parallelism I could have done between who just watch porns and the others, but I promised myself to censure it. Peace.

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