In a recent piece by Bill Zuckerman, which is ostensibly a defense of the state of Classical Music not being so dire as some Crisis folks are saying, we get the explanation that many of the types of values taught are the focus of music school instruction. While I don’t necessarily disagree with that, I do take some issue with Zuckerman’s examples of “new values” used by younger and newer musicians.
In my previous post about tools for the 21st Century Musician, I discussed improvisation as probably the most useful tool musicians can be using. In a way, technology is even more indispensable. Unless our voice is our primary or only instrument (and even then there are exceptions), then nearly everything we make music on is the result of some level of technology. Whether we’re talking about the technology of carved bone flutes and dried skins over a wooden frame, or the highly advanced craft that luthiers use to carve/mold stringed instruments, or the ability to build circuitry or program for electronic instruments or computers, there is always some level of technology involved in the making of musical instruments.
In a recent Telegraph piece by Hannah Furness we’re told that Peter Sellars has called for the end of Mass art forms
In a speech about the importance of art, Sellars argued the changing world had left consumers wanting a different experience from simple, traditional mass market.
Saying opera had an “irrational beauty” which is “incredibly powerful” in front of an audience, he added: “Meanwhile the new technology means you don’t to have an opera house to do an opera
“In fact, most young people don’t want to go to an opera house and it’s not how those people want to have a good time, to sit with 5,000 other people.
“In fact, what’s very exciting is some of the most exciting opera experience I’ve had is in a room with 15 other people, or 30 or 40 whatever, in an intimate situation.
As I’ve shown numerous times at this blog, the same can be said about large scale pop or stadium/arena rock shows as well as Sporting events which often take place in big stadiums. But does this mean the end of large scale mass entertainment or art forms? I’m not so sure.
One of the running themes here at my blog is how we talk about Classical Music and how that inflects what we know about the field as a whole. This goes back to what’s known as a prototype theory of language first articulated by Psychologiest, Eleanor Rosch, back in 1973 as a way to understand how we formulate categories. Each individual will have their own prototypical understanding of, say, Classical Music and that will influence how the whole field is understood and how it can be manipulated as a mental category. This in turn influences what we can see as the range of possibilities for actual members of the categories in the real world.
In my previous post I talked about the minuscule returns that live audience ticket revenue gives for the total operating budget of movies. I’m going to divide this post into two parts as the first has gotten rather lengthy.
In this post I’ve summarized some of the things I brought up in the previous one, “Live audiences for Movies matter less than for Classical Music.” Then I’ll take a look at how and why Hollywood studios focus on the live audience demographic that it does and relate that to what seems to be a “holy grail” for Classical Music Crisis folks: the mythical younger audience. I’ll look at audience-creation that has become the primary marketing model for contemporary Hollywood studios after the precipitous decline in regular weekly movie-goers and how that relates to single-ticket marketing that’s becoming more prominent in the Classical Music field. The post ends with a discussion of the social costs that accompany some of this marketing strategy and its focus on younger audiences and how that relates to a lack of critical inquiry/reflection in the push to bring Classical Music into a “wider and more contemporary culture” (setting aside what’s problematic about saying that the field doesn’t already exist in it).