Here are recently posted items quite relevant to our conversations about the future of classical music, including how to get an audience to concerts.
The first is Agora or Temple?, an essay by George Slade posted on the website of the Musicians of the Minnesota Orchestra, who are currently locked out by management while contract negotiations are underway. A particular sore point with them is that the board of directors has raised $52 million dollars for a new lobby for the concert hall (that must be quite a lobby), while simultaneously asking the musicians to take very substantial cuts in salary and benefits. I'd be pissed, too.
Beyond that particular situation, I think we could call this essay "What's Wrong with Classical Music." Depending on which point of view you hold, it's either the situation Mr. Slade is complaining about or the point of view of Mr. Slade himself. As you read, it will be helpful to know that in Ancient Greee, an agora was a central meeting place. A temple, of course, is a temple, and I can't think of any piece I've ever read that more perfectly articulates the concert-hall-as-temple-of-high-art view than this.
As you know by now, one thing that is happening as classical music evolves is that there are more and more agora-like performance spaces as fewer people seem to be attracted to musical temples.
Meanwhile, the New York Times has posted a raft of letters on the subject Is Classical Music Dying? Each week, the Times publishes a letter online on an important topic and invites readers to respond; selected letters are published in Sunday's paper and even more are published online. The original letter is by a violinist who is retired from the Metropolitan Opera Orchestra. He asserts:
The future of classical music lies with the younger generation, which must be weaned away from the cacophony of rock and the neon glitter of “American Idol”-type TV shows. Instead of dragging children to concerts, where they squirm with boredom, rent some old movies featuring soundtracks of classical music.and as you can imagine, a number of younger writers take issue with the rock comment.
Please post your responses here, and we'll spend part of class discussing both.
I thought the first article was interesting, especially with the emphasis on lobbies and the purpose they hold (or held) for these type of events. What was depicted in that first paragraph was the epitome of decorum in attending classical music concerts, something that is changing to become far less formal. Until I was given some context about the $52 million lobby, I didn't really understand the purpose of the piece, but now I do.
ReplyDeleteDreyer's suggestion for immersing children in classical music via the popular media is a productive idea, even though it's one we've heard before and discussed before in class. It seems to have been preached more than practiced, but it's definitely something that might preserve the world of classical music.
I was going to say something about each of the responses before seeing that there were a ton of them. Most of the responses were helpful, while a lot of people brought up some really good points (esp. Vodov on condescension--I appreciate Dreyer's points, but he could be a little more tolerant of other types of music in his argument). Shifting over to poorly-formulated arguments, I've got little to say on the cynical Wiggins except that he oversimplifies things far too much. So pop has an array of genres, but classical is only "classical?" I guess Erik Satie's surrealism and Debussy's impressionism are one and the same, then, to exemplify. *rolls eyes. I respect Wiggins' opinion, but he clearly has a limited understanding of classical music. As for referring to orchestras as "'cover bands' playing the same old tunes," I come to the conclusion that Wiggins is the one who doesn't get it.
Good thoughts from Zoe. And if you don't have enough to read, I spent most of the evening rereading both Mr. Slade's essay and all the Times letters and writing a blog post of my own: http://ericedberg.wordpress.com/2012/11/25/whats-wrong-with-classical-music-too-much-agora-or-too-much-temple/
ReplyDeleteI found the first article very interesting and liked how it had a low-key feel when I read it. It was neat to read and bring to focus all that you do at a performance when it comes to the lobby, entering the event, and preparing for the event. It was very simple and got to the point.
ReplyDeleteAs for the second document...It was very interesting and struck something with me. I have always been immersed in classical music as well as pop culture, rock and roll, and most genres of music. Like Zoe said, "It seems to have been preached more than practiced." I chose to listen to classical music, not by the influence of my parents or grandparents, etc. If it is practiced, I feel that it will have a positive influence on the popularity of classical music. This was very interesting to me and I never thought of classical music this way but totally agree:
"Too many of those listeners were never introduced to the power of Beethoven, the elegance of Mozart or the soulfulness of Mahler, and if they were, it was the aural equivalent of “eating your vegetables."
I feel that the reader response, I can see where the author comes from, but do not totally agree with their views.
I love Slade's use of imagery in the "Agora or Temple?" piece. He is right about the importance of the lobby. But it is a little ridiculous that they are spending so much to redo a space that people spend about 10-15 mins in instead of paying the people that spend hours upon hours working on the actually performance that people pay and come to see.
ReplyDeleteI agree with what Zoe said about the immersing children into classical music is preached more than practiced. I totally agree with the concept of it though. Like most problems, they can be fixed with starting in the younger generations. It is always to late for the adults or the young adults who are experiencing the current issue. The younger generation is always the ones left to fix it. We just need to help the process of it all. Reading this gave me hope for the future of classical music. I remember thing like hearing opera in cartoons like "Tom and Jerry" when I was a kid. I loved it! I think we continue to incorporate that into todays cartoons that we have something.
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ReplyDeleteThere is no doubt in my mind that classical music is on a rapid decline in modern American society. I would contend that the archaic nature of classical music is foundational to the classical music problem. The way American's approach every day life could be deemed casual, but I think that would be quite an understatement. At large, American's do not appreciate "getting dressed up" and "formalizing" events. This, by its nature contradicts that of classical music events. With respect to the "Agora or Temple?" article, it is important we start to let classical music transcend with the society. Otherwise, our reluctance to change may be the death of us. The concept of an Agora lends itself well to this progressive idea - a casual place to enjoy classical music. However, many classical musicians would argue that the "temple" of a concert hall or opera house is part of the whole experience. Perhaps we reintroduce classical music through the agora style venue and then invite people to understand and experience the temple thereafter.
ReplyDeleteI did not appreciate the relative intolerance for all types of music (in their own merit). It seemed there was a general "distaste" for rock and pop of all kinds, which does not lend itself well to the quest to create 'music appreciators'. Dreyer really slammed rock music which has proved successful in transcending many generations. Perhaps we should take a hint from rock musicians in how they are reaching audiences instead of criticizing. It is about time we start looking at what AUDIENCES want, not what we want our audiences to like. After all, they are the ones paying to see us.
I definitely agree with Les Dreyer's opinion about getting people back into classical music. The substance is already there and musicians just need to catch up with advertising etc. I do agree with ANTHONY RUDEL's opinion that the break from classical music happened a generation ago. I think the most important thing to figure out is how to get parents to invest in bringing children to classical music events
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ReplyDeleteWith each article that we read in this seminar, my perspective on this topic becomes more and more confused. I loved what some of the writers in the dialogue had to say, particularly, “Once one comprehends the high level of precision that goes into classical performance… there is no going back”. I think that this is absolutely true, almost with anything, when it is difficult to understand almost all potential for enjoyment is crushed. When one can understand music, one will be able to find enjoyment in it. On the other hand, “one should never pit classical music again rock, for the latter will always win”. I don’t know if this is true for everyone and I wonder why this is. Is it simply because rock music is quickly relatable? I think that there may not be any concrete answers to these questions and we as classical musicians have to decide if classical music is a dying art, an enduring art, or an evolving art. We as performer control our genre’s direction and It cannot be all of these.
With regards to Dreyer, I find the comment he left the dialogue with stuffy and closed-minded. He cannot open his mind enough to understand the perspective of spectators who may not want to emote during a symphony, but who might rather spend their time emoting during a rock concert. The man who wrote regarding judgments on his attire had a legitimate complaint about snobbery which Dreyer completely discounted. In a way, displaying his own sense of snobbery.
If classical music is enduring or evolving, audiences may start to treat concerts as agoras and not as prayer in a temple, but who’s fault is that? The classical population shows a mix of ideas on whether or not agora concerts are acceptable, whether music is dying, whether the actual music is still relevant. I think that musicians need to be thinking a bit simpler in times like these. Simply, how do we get music to the people? This could encompass a wide array of concert styles and positive feedback should be encouragement for repeating of certain events and styles.
If classical music as a culture is meant to be preserved then classical musicians need to show people how passionate they are about the traditional style. Play up the event of going to the symphony, dressing up, making a night of fine music.
This post probably comes off as confused, because it is. And I am. And this topic is. What do we want? What does the audience want? Isn't music a necessity? Does it matter what kind? Is there such difference between a classical musician and a rock musician?
Hey, Sarah: Confusion is a good thing. In many courses, including this one, a main goal is to get you to a place of continual questioning and critical thinking. I'll talk about that some in class.
ReplyDeleteI had this feeling "Agora or Temple" made traditional orchestra concerts seem like a cult ritual. The way he describes it makes it seem religious. He never states whether he approves of this or dislikes but hints towards making orchestra halls more liberal.
ReplyDeleteI liked how there were different opinions in the letter to the editor or "Is Classical Music Dying." I personally think that rock music will often reflect classical music. Technical the only thing really change is instrumentation. several songs have common chord progressions and motifs that people easily miss. There is a bigger connection than most of either genre want to admit.
I look at Pink Floyd's "The Wall" there are many songs that have a small orchestra behind it and some that have none. even when shifting between styles there is a motif that circulates through out the entire album and changes style slightly to fit each song.
whoops, didn't mean to delete my comment.
ReplyDeleteI think that most importantly, when it comes to the agora/lobby/temple/hall issue, a balance needs to be found. I definitely agree that a performance hall should act as a sort of temple for concert goers and musicians. But I also think that the lobby/agora can be a great way to bring it all together after the show- Slade himself said that the "lobby came alive" when the musicians joined the audience after a concert. This balance/connection will be an important thin to find.
Over and over while reading the Sunday Dialogue responses, I realized how many things that we've discussed were being mentioned. The fact that the loss of interest in classical music is a generational thing- but which generation? And that modern music holds a lot of value as well, just in different ways. Many of the responses from the public held good ideas and interesting insight into what different people think about the situation. And though I can see where he is coming from, Mr. Wiggins is wrong when it comes to his "cover band" comment. While some pop music is great and will last through the ages, much of it is shit and won't last the decade. The "same old tunes" are still around because they are wonderful pieces of music that have lasted through the decades/centuries.
Still, going back to Les Dreyer's original letter, I am glad to see that there is still optimism among classical musicians- that they believe that the classical music situation can be bettered. It is comforting, I suppose, to know that even those who witnessed/are witnessing the collapse of classical music think that it can make a comeback.
Speaking from personal experience, I think the one part of the solution to the 'classical music is dying' issue is exposure. But it needs to be done in a such a way as to leave a positive experience. I agree with the retired MET violinist completely. You can't force someone to like something, especially if the methods used involve putting someone in a potentially uncomfortable and time-consuming environment where they may feel trapped. That used to be how I would've have described orchestras/symphonies. By exposing someone to classical music in an environment that they can associate with positive things and by doing it gradually and without force, people have, I think, a higher chance of enjoying classical music.
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