Autotune as a trivial symptom of the downfall of modern music

Autotune as a trivial symptom of the downfall of modern music - The alessandrofois.com Blog

Autotune as a trivial symptom of the downfall of modern music

In the vast universe of contemporary music, the abuse of autotune is not just a passing fad; I personally see it as a symptom of a much deeper and more pervasive crisis. 

This tool, originally designed to correct the slightest vocal imperfections or, even in its most extreme expression, aimed at expressively emphasising certain 'special' phrases of a song's lyrics, has turned into an ever-present expedient in every song and every moment of the song, which deforms and flattens the entire song, accentuating dehumanisation, replacing art with artifice and subliminally promoting the transhumanism desired by the elites that govern us. 

This is not merely a loss of authenticity; such abuse is one of the most trivial signs of the cultural decline that is reducing music to a sterile, soulless product.

Melody and harmony, fundamental pillars of musical composition, have been reduced to repetitive and banal formulas, limited to a few elementary chords and sequences of a few notes recycled obsessively. 

The rhythm, although very carefully crafted in dynamic detail and groove, instead of expressing variation and humanity, has become a mechanical loop, an incessant repetition devoid of true vitality: a robotic parody of vitality. 

And the lyrics? They are often a patchwork of banality and vulgarity, when they do not degenerate into messages of hatred and discrimination.

Comparing music to other sectors such as sports, gastronomy, architecture and many others, the difference is abysmal.

While innovation is more consistently celebrated in these fields, recognising and rewarding talent and originality, in music a desultory conformism towards mediocre models reigns and the lack of talent, both technical and expressive, is increasingly celebrated.

The brilliant film 'Idiocracy' was not just a satire, it was a prophecy! It predicted a world where superficiality and mediocrity take over, a world where culture does not rise but degenerates. 

And in this scenario, modern pop music represents one of the most obvious expressions of an intellectual and (what is worse) spiritual decline, which risks leaving an empty and meaningless cultural legacy.

Without mentioning the great artists, who are unfortunately relegated to narrow niches due to the difficulty of understanding their works as perceived by the 'mass' public (although in a better-directed world it would be 'normal' to be able to mention them), it should nevertheless be considered that some artists of great worldwide success such as Beyoncé (notable for her impactful performances and socially relevant lyrics in the pop context), or Ludovico Einaudi (with his neo-classical compositions that aim to evoke the spirit despite their extreme simplicity), have tried to maintain a certain dignity in music for wide consumption. 

However, it is mortifying to note that they, like so many others, are in decline, increasingly burdened by a landscape dominated by so-called 'junk music'.

This phenomenon, which accounts for more than 80% of the musical offer, not only marginalises artists committed to maintaining a high artistic level, but perpetuates a subculture that seems to deliberately want to impoverish the spirit, pushing music of decent quality towards ever smaller and more isolated niches.

This situation is fuelled in part by the dynamics of the music industry, which favours those forms that are easier for the 'simple spirits' (or should I say less evolved?) to grasp, where the quantity of streaming listening increasingly takes precedence over artistic quality. 

In this context, marketing and the ability to attract attention through social media often become more important than musical skills or the essence of the message conveyed.

The result is that the music that reaches the general public tends to be that which best suits these fast consumption mechanisms, often at the expense of innovation and artistic depth. 

Artists who try to maintain a high level of artistic integrity may find themselves marginalised or forced to compromise.

In conclusion, we must seriously question the future of music and, more generally, the directions we are choosing as a society. 

If art loses its ability to make us reflect, move and aspire to the beautiful and the lofty ideal, then we are faced with a crisis that is not only artistic, but profoundly human. 

It is time to reject trivialisation and to demand and produce music that is worthy of the name: music that nourishes the soul, stimulates the intellect and celebrates the richness of the human condition, instead of reducing it to mere cheap entertainment.

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