抄録
This paper examines the politics of discourse on the value of ‘rock’ by critics and academics and importance of audience, mostly neglect in those discourses. First of all, the discourse on ‘the end of the rock era’ by Simon Frith reveals that it stands on ambivalent attitudes towards authenticity of music, which should have been rejected by the thechnology. Then we investigatethe reason why appropriation of musical meaning of audiences which in spite of it's importance, its negrected by Frith and only discribed negatively at the mass society theory is so important by the framework after the rise of Cultural Studies.
