Amerika

Using Classical Music To Assert European Ethnic Identity

Society operates by signals and symbols because to have people work in a coordinated fashion, they need to know what to do. Some of this concerns customs, or things they do on a regular basis, and some concerns sending out the alert about a pressing issue.

For regular behavior, we in the multiculture suffer difficulty because there is no longer one standard, but a loose bag in which we cram the different shapes of different cultures, loosening the bag so that everyone can fit but at the same time, ending up shapeless.

Europids in such an environment find themselves subject to the signaling and symbolism of every other group. A burka is a symbol of a Muslim culture; a kippah of a Jewish one; an afro of an African one; Hispanics tend to use a combination of dress and speaking in Spanish.

We face a difficulty in that as the majority culture, we are expected to give ground to all the new cultures coming to join us, but have no way of signaling our own. Everything is ours; that is why it is being torn down.

Even more, any explicit signaling is accused of racism or some other Leftspeak for “not egalitarian” and this summons a crowd of useful vidiots to destroy us.

We can possibly push back by using strong signaling of our classical culture, which both asserts our dominance and inherently irritates both Other tribes and those among our tribe that we would prefer stay home and get a hobby (crime and parasitism are not hobbies; they are pathologies).

It turns out that blasting classical music at outsiders alienates them and induces them to vacate the premises:

Classical music is being played at Hull’s railway station in a bid to reduce anti-social behaviour.

The company said that the same move at Cleethorpes station had seen “complaints of anti-social behaviour reduced by around 75%”.

“We probably used to have about 20 to 25 youths on the station each night and now we’d be lucky to get two or three.”

They react to the strong signal of Western European style order and balance. It also makes it clear that this is not a space for them, but for us.

The same has been tried in America, and seems to be recognized as strong signaling of rejection toward miscreant groups:

Indeed, playing classical music to clear out public spaces is an act of supreme elitism: an attempt to “civilize” a space by making it unpleasant to people whose tastes differ from your own.

Early attempts in this direction date to the mid-1980s, when a 7-Eleven began playing music in the parking lot as a deterrent to the crowds of teenagers congregating there. Plenty of stores continue to use the technique, and other examples have been cropping up sporadically ever since. In 2001, police in West Palm Beach, Fla., blasted Mozart and Beethoven on a crime-ridden street corner and saw incidents dwindle dramatically. In 2010, the transit authority in Portland, Ore., began playing classical music at light-rail stops, and calls to police dropped. When the London Underground started piping classical music into its stations in 2005, physical and verbal abuse by young people (however you define THAT) declined by 33 percent.

In a related story, a school in Derby, England, got into the news last year by using classical music to punish misbehaving pupils, forcing the disobedient to sit and listen to an hour of classical music. Behavior improved by 50 percent.

We could ask them why they are so triggered. After all, it is just music, like the hip-hop that blares from phones and radiates from some storefronts. It is no different than the many stations tuned to CNN or Fox at various businesses.

Through its heavily rule-based, orderly and complex, but intensely Western aesthetic, classical music reclaims spaces for us and tells others to go elsewhere. Perhaps even boats back to wherever home should be.

Like European culture itself, this orderly approach terrifies barbarians and drives them away holding their chaotic ears:

Still other explanations are in the nature of classical music itself. Much of it conveys a sense of order, symmetry and beauty, that conflicts with the disorder and ugliness in the minds of hooligans.

Musicologist Giovanni Bietti explains that Beethoven — who was convinced that music could make a great social contribution — Mozart and Haydn had a rational image of music, which is why in their works the initial contrasts are always resolved through the rules of composition, giving order to thoughts. This discourages those who don’t accept the rules.

Driving back human insanity with order and a natural aesthetic fits into the Western image of the world. We want to make things beautiful, and this requires driving out the confused and destructive.

To the disordered mind, classical music presents something disgusting — a vision of the world in which we are not victims who are justified in vandalizing everything around us — and conveys the sort of “uncool” which keeps away fools.

This concern for reality and not human pretense tends to drive away those motivated by social pretense and attract the orderly:

Helfgott believes classical music is historically associated with “a cultural aesthetic that is pro-social as opposed to antisocial,” making it a preferred crime prevention tool. Put another way, rowdy teenagers don’t find classical very cool.

In Columbus, OH, where the YMCA piped in Vivaldi, the strategy is being hailed as a success. A local business improvement district executive told the AP: “There’s something about baroque music that macho wannabe-gangster types hate. At the very least, it has a calming effect.”

Imagine if we did this to our whole society, using images of classical art and figures from classical literature, piping classical music through the streets. We might make ourselves toxic to the trivial, and gain a measure of efficiency by doing so.

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