A couple of years ago I came across Paul DiMaggio and Michael Useem’s “Cultural Democracy in a Period of Cultural Expansion: The Social Composition of Arts Audiences in the United States” (1978) which is a condensed version of their NEA Report (published with Paula Brown), “Audience studies of the performing arts and museums: a critical review” (1978). The pieces are studies of published and unpublished reports as well as surveys which had no formal write-up summarizing results of surveys.
One of the many ideas that Crisis folks rely on is what we could call a Monolithic Pop Culture trope. The whole idea of Classical Music culture being rooted in the past (and therefore needing to “catch up” to contemporary culture) relies on this myth that culture has “evolved” (nevermind the problematic aspects of a type of Social Darwinism which implied in claim) to the point where Classical Music culture is no longer relevant.
While weddings in the US may be at historical lows after the recession, we’re still looking at over 2 million marriages per year on average. The String Quartet format for classical musicians remains one of the primary ensemble types that are regularly hired to play weddings (either services, reception music, and occasionally party music) so the industry for music publishing of wedding music for these kinds of ensembles remains relatively lucrative–especially pop music arrangements. What’s not published will often get arranged by the musicians–the first time I played an arrangement of the Game of Thrones theme was a string quartet arrangement which the group leader had put together himself.
After hearing some of the bootleg vids (as well as one which purportedly takes sound directly from the board) of Dave Mustaine’s recent concert with the San Diego Symphony. Ironically, the “trash-metal” title is from Greg Sandow’s blog post criticizing the concert for sandwiching Mustaine between works by Berlioz and Dvořák (amongst other slights Sandow finds with the whole marketing of the concert. I’m assuming a typo, but who knows–maybe it was a Freudian Slip, and it’s a fittingly apt description of Mustaine’s performance.
As any field grows in size and complexity, fragmentation and specialization inevitably happens. When orchestras first evolved there wasn’t any need to make a differentiation between an early music orchestra or a new music orchestra. Early Music ensembles (or Historically Informed Performance ensembles as we now often call them) couldn’t exist since the repertoire was also at its foundational stages–in fact, the rep and orchestras co-evolved and constantly fed back on one another. All the music was new music. As repertoire accrued and the orchestra evolved for a while in tandem with it until we got to the point that we started making sharp distinctions between musical historical periods.