By Ikuko Mitsuoka

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20). To unpack these dense phrases and see them in action, it may be helpful to consider the dramatic changes in music resulting from the historical evolution of media forms. Popular Music and Oral Cultural Identity When our carload of teens cranks up the bass and pounds along with the rhythm, the scene suggests answers to the question, why has the music of the electronic age, rock and roll in all its variations, been so frequently compared to the music of the preliterate era, so-called primitive music?

18). Communica­ tion is not surface contact but part of life's substance. The consciousness at stake is defined by Ong (1981) as "reflective self-possession expressed in the saying of T " (p. 199), whereas culture is a kind of collective conscious­ ness that characterizes a people at a particular time (p. 20). To unpack these dense phrases and see them in action, it may be helpful to consider the dramatic changes in music resulting from the historical evolution of media forms. Popular Music and Oral Cultural Identity When our carload of teens cranks up the bass and pounds along with the rhythm, the scene suggests answers to the question, why has the music of the electronic age, rock and roll in all its variations, been so frequently compared to the music of the preliterate era, so-called primitive music?

8-15). Eventually, elaborate systems of notation with scales and keys and notelengths, written with mathematical precision, made possible the complex performances of classical symphonies, marching bands, dance orchestras, and any performance where many musicians played independent, complex lines of composition together. At the same time, print played its essential role in spreading European empires, private property, and capitalism. Books, writing, and textuality played a formative role in fashioning imperial control and colonial worldviews (see Tiffin & Lawson, 1994).

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