Abstract
Today it only sounds like stating the obvious to say that the importance of popular music as a means of building one's identity has indubitably been shaping the so-called counter-culture of the second half of the twentieth century. Indeed, in this consumerist society, classical music has always "belonged" to the wealthy, leading upper class; and is different from traditional music which is endemic to a particular area and culture, whereas the term pop can be applied to music coming from any part of the world. Popular music has proved to be the main field in which artists can express their opposition to and denial of all possible establishments. Hence the well-known objection usually uttered, often with reason, by those willing to run pop music down: how and why do pop musicians try to discredit and replace or even destroy an economical and ideological system upon which they depend, as well financially as for their artistic credibility? In other words, would popular music exist without the socio-ideological reality it's been tackling for so many years?
