Answering the question of the existence of a ‘music of the elite’ cannot be done by a simple review of musical practices.
This quest requires a broader investigation of the relationship between music and the idea of social status and society as a whole. What is music? What is its role? Is it a mirror of society or does it help to shape it? How can the different theorizations of music can influence the answers to those questions?
This paper will try to explain why we can talk of a music of the elite by surveying three theories of music described in a typology done by Line Grenier. This categorization reviews three visions of music : music as a conceptual art, music as a cultural product and music as a symbolic system. I believe that these three conceptions can make an interesting contribution to understanding what we could call elite music. I will review each theory by showing how they might help to theorize elite music. Their limits will also be overviewed. Finally I will explain why the last theory, music as a symbolic system is, in my opinion, the most useful to make an account of elite music.
Also, the notion of elite used in this paper is directly derived from the works of Pierre Bourdieu. Here the ‘elite’ is understood as a social group that has a vast and socially valued ‘cultural capital’ (in which there is, among others, music).
Music as a conceptual art
This first theory is probably the least interesting to defend the idea that there is a music of the elite, however it contains some appreciable findings. Theorists who believe that music is a conceptual art focus on its physical nature. For them music is a series of sounds, they see it as a ‘sonic materiality’ (Grenier, 1990). For this reason, they undermine the influence of culture and society, they do not see music as a sociological or political object of analysis. The impact of culture is not denied, it is just considered as a superficial bias. With this position, this theory struggles to explain the variations of music and the different existing genres. Claude Lévi-Strauss has an answer to this that might help to explain why elite music exists. Lévi-Strauss links the concept of difference in music with the concept of taste. For him there are different genres of music because at one point in time and space, someone decided that one sound was better than the other (Lévi-Strauss, 1964). With this in mind, the idea of an elite music can emerge. We can assume that for a long time, the only layer of society that had the time and knowledge to enjoy music was the elite, they were the ones who were making the choices and stating that one genre of music was good. If music is a matter of taste, the taste of the knowledgeable makes music.
Thinking of music only as a sound valued by some is not enough to evidence the existence of a music of the elite but it provides an indirect explanation. The main issue lays in the underestimation of the importance of culture in the production of music, which is central to the notion of elite music.
Music as a cultural product
This second theory is probably the most useful to try to make an account of the existence of a music of the elite. Seeing music as a cultural product means that the focus is set on the context of creation, music is seen as a ‘medium and expression of group differentiation and provides a sense of belonging” (Blacking, 1973). Here, music is produced by humans and is dramatically influenced by the context in which it is created (social group, country…). Music is definitely seen as social. For those reasons, talking of a music of the elite seems legitimate. If music is a tool of expression of a group, it can be used by the elite. This theory works really well with Pierre Bourdieu’s findings. The cultural capital (i.e. music) is a shared knowledge that is used by the community to create and reproduce their shared identity. This knowledge is contained in that community and is characterized by a set of codes that make it impenetrable for others. For example, classical music, which is usually seen as the music of the elite, is full of implicit rules, such as having to clap at a certain time, which gives it its elitist dimension. In this case music is seen as a mirror of society, it is used as a vector of identity by a group, in this case the elite.
Even though this theory is really interesting in the quest for a the music of the elite, it has some limits. By understanding music as the product of a context, it reduces it to the attribute of a social class. Elite music is elite music only because the elite listens to it. The elitist nature of the music is not contained in the music but rather in its consumption by a group of people.
Music as a symbolic phenomenon
This last theory is mainly developed by Line Grenier herself. The main aim is to make an account of the uniqueness of music and understand it as a symbol. For her, music has to be understood as a contributor to the ‘social construction of reality’ (Grenier, 1990). Music is not seen as mirror of a pre-existing structure anymore but as a generator of it. Music is a way for people to represent social reality but it is also a way to shape it. A group, such as the elite, shares musical taste but also reproduces and shapes its identity by creating and consuming the same kind of music. With this new take on the question, Line Grenier explains that musical studies should move away from empirical conclusions to go towards a more symbolic definition. Music is not just sounds, it is not just a mirror of society but it is one generator of a social order. Elite music exists because it is at the core of the existence of the elite it is not only an attribute of it. This theory gives a central role to music, making it one of the key factor of the concept of social structures. Music, as a symbolic way of expression, helps people to symbolize reality and, in a way, shape it.
In conclusion, I am convinced that there is a music of the elite. The roots and concept of elite music depends mostly on the definition of music that is chosen.
For me the last conception, music as a symbolic phenomenon, is the best to make an account of the music of the elite. I think that if we take music seriously and understand it as a real tool of social expression and not only as a mere mirror of a society, we can think in terms of elite music.
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