The master's thesis focuses on exploring the connection between music and commodities by examining two aspects of this relationship: the internal structure of (popular) music as a commodity, and the external parallels between music production and the markets of merchandise. To achieve this, the dissertation begins by outlining the form of popular music, the subject of the study. Drawing on Theodor W. Adorno's concepts of standardization and pseudo-individualization, which he developed in his influential essays and lectures on popular music and the culture industry, the thesis briefly presents and critically assesses these ideas before re-evaluating the link between them. Next, the dissertation deduces concepts that contribute to a nuanced outline of a new conceptual framework, providing an epistemological foundation for understanding the general form of standardized music production, taking into account the role of technology and media forms in shaping this production. The thesis introduces the concept of "monopoly standardization," which emphasizes the need to consider standardized music both as pieces of music and as the construction of celebrity images and lore through media. Additionally, the study compares the role of music stars to the structural positioning of brands in the usual commodity. The methodology used in this study follows these considerations and applies them to analyse the output of the Slovenian composer and producer Aleš Vovk/Raay and the products released under the name of the singer Luka Basi, providing a case study to illustrate the practical implications of the conceptual framework.
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