This is because "the relationship between actual culture...

on the one hand, and economically

determined factors such as class position, on the other, is always problematical, incomplete, and
the object of ideological work and struggle. ... Cultural relationships and cultural change are thus
not predetermined; rather they are the product of negotiation, imposition, resistance,
transformation, and so on....Thus particular cultural forms and practices cannot be attached
mechanically or even paradigmatically to particular classes; nor, even, can particular
interpretations, valuations, and uses of a single form or practice. In tuart !all"s words #$%&$'
()&*, "there are no wholly separate "cultures"...attached, in a relation of historical fi+ity, to
specific "whole" classes". !owever, "while elements of culture are not directly, eternally, or
e+clusively tied to specific economically determined factors such as class position, they are
determined in the final instance by such factors, through the operation of articulating principles
which are tied to class position". #ibid, p. &*
,rticulating principles "operate by combining e+isting elements into new patterns or by
attaching new connotations to them". -+amples of these processes in musical culture include the
re.use of elements of bourgeois marches in labor anthems or the assimilation of liberated #in the
/arcusian sense* countercultural $%01s rock into a tradition of bourgeois bohemianism and the
combination of elements of black and white working.class music with elements of art music that
created countercultural $%01s rock. #ibid, pp. &2%*