lilee + Mass Culture discussion questions

I have written a beautiful Word document that discusses every discussion question in detail, almost five pages of carefully considered response--but how the @#$%^&*! can I copy it to this blog instead of retyping it? Here is my response to the first discussion question.

(1) Weber includes among the factors that contributed to the emphasis upon composers' "names [that] seem [to have been] written into the heavens" the following: 1. the growth of the music publishing industry (p. 6, first full paragraph, line 4), the spread of retail outlets (p. 10, third full paragraph, lines 1 ff), and crafty merchandizing on the part of the publishers (p. 11, first full paragraph, lines 1 ff); 2. the growth of the large-scale concerts which appeared during the middle of the nineteenth century, which brought a new impersonal social structure to concert life (p. 6, second paragraph, lines 8-10), together with their leaders (p. 15, third full paragraph, lines 6-8); 3. the polarization of values between music for entertainment and for serious artistry, shaped by the repertoire of the large-scale concerts (p. 6, second paragraph, lines 10-12); 4. the growth of "highly trained, sometimes semi-professional listeners who poured their energies into advocating the music they regarded as the bastion of serious music culture" who by the mid-nineteenth century had become the "dominant force among the musical amateurs" and who dominated the concert hall (p. 19, the entire third full paragraph). My opinion on the above reasons is that a lot of this is determined by the phenomenon that everyone wants to "be cool"; the publisher, concert entrepreneur, and informed amateur set the standards for "what is cool" for the other, less-informed listeners or "wannabes" and thus for what would be demanded in the concert hall. Particularly, by defining music through the polarity of entertainment and art, or low- and high-brow culture, "informed" listeners could make themselves the artistic and elite standard and the non-informed listeners the "other." Weber seems to say this, as well (p. 19, first full paragraph, .ines 8-13).