In the previous post in this series I mentioned that I would be exploring narrow ideas of “Success” in discussions from some Classical Music Crisis folks. I brought up the phenomenon known as Survivorship Bias and how our models for success can be skewed by survivors while missing possibly more relevant data that can be learned from “failures,” which are far more numerous. In this post I’ll be discussing one of the perennial debates that local band musicians love to have, Covers vs. Originals, and how that fits into the wider debate of “Success” and modeling Rock/Pop band marketing, entrepreneurial, or gigging strategies.
*EDITED for content, clarity, and minimization of polarizing langauge*
This is going to be the first in a series of posts exploring narrow ideas of “Success” in discussions from some Classical Music Crisis folks.
Survivorship bias also flash-freezes your brain into a state of ignorance from which you believe success is more common than it truly is and therefore you leap to the conclusion that it also must be easier to obtain. You develop a completely inaccurate assessment of reality thanks to a prejudice that grants the tiny number of survivors the privilege of representing the much larger group to which they originally belonged.
I was having a conversation with composer, Kevin James, a few days ago about our Alma Mater, DePauw University and he mentioned that one of the things he hadn’t seen there while he was on an advisory committee for the direction of the music school is students playing in ensembles that they weren’t required to be in for a class or ensemble/chamber music credit. A couple weeks ago, Sugar Vendil wrote a piece for NewMusicBox asking the question, “Should I Start a New Music Ensemble?”
This is just a general call for any info about Opera groups/organizations or music ensembles which perform opera that have formed since 2000. Given what I said in my previous post about the local opera scene in the area, a recent piece about the rise of Chamber Opera in New York, and what I’ve posted about market and audience fragmentation, I thought it might be interesting to see how much new opera activity has happened since the new millennium.