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.
In a previous post I discussed how a number of professional and full time Chinese Opera theaters and companies folded during the Great Depression in the US and how all the work relief programs (at the state and national level) helped keep European styled Classical Music organizations afloat.
Note that all the professional companies folded before the Great Depression. Sadly, due to a lot of the anti-Chinese sentiment, these performing groups didn’t benefit from the economic initiatives (FERA, WPA Federal Music Project) that helped many US European Style Orchestras survive the Great Depression. Neither were new ensembles formed due to those initiatives like the 150 plus European styled Orchestras around the US. After the Depression, most of the earliest groups were “clubs” that did occasional performances rather than the 6-nights-a-week performances we saw in the pre-Depression years. I wonder if this might have happened to many of the US European Styled Orchestras had many of them not had the funding from the Federal Government through FERA and the WPA. One crisis was averted for the dominant cultural majority while another wasn’t for a cultural minority.
One thing to keep in mind is that, these Chinese Opera companies were performing often up to 400 performances a year and practically every day of the year (cf. Sunbeam Theatre Chinese Opera in Hong Kong which produces 400 sold out shows a year and is having financial problems). Sometimes these would be community and ritual functions, but often, full blown Chinese Opera production might be performed twice a day during the run of these groups in New York and San Francisco. With the exception of perhaps the Boston Symphony Orchestra, no American Classical Music institution came close to a 52 week season.
By the end of the Great Depression, there were no longer any full time, year long Chinese Opera companies in operation, while most American Classical music organizations survived, eventually, relatively intact.
Classical Music, Great Depression, and the Government Funding Crutch
As I stated in my post, The Classical Music Crisis during the Great Depression, there were many periods of work stoppages, and even the great New York Philharmonic curtailed their season by eventually cutting concerts down by a third–and it almost merged with the Met Opera to cut costs. The San Francisco Symphony actually cancelled a whole season in 1935. The Tuscon Symphony Orchestra merged for a time with the local University Orchestra to survive.
A great many orchestras became jointly funded by the Federal Music Project and the communities–such as when the FMP payed for 67 of the 79 members of the Buffalo Symphony Orchestra until it became a private group in 1939. But even before that it was funded by the CWA. The Newark Civic Symphony Orchestra and Seattle Symphony were partially funded by the CWA and the Syracuse Orchestra and an orchestra in North Carolina were fully funded by it. Some orchestras, like the Hartford Symphony Orchestra, were organized as FERA orchestras before becoming Federal Music Project orchestras.
Classical Music organizations were Part-Time Organizations during the Great Depression
Let’s set aside how many orchestras were actually directly funded by relief programs in the US during the Great Depression and look at how they were indirectly supported by the relief programs.
As I said in my post about part-time musicians being the historical norm (and how we don’t always mean what we mean by being a “full-time musicians“) most musicians held “day jobs” throughout history. Some, who were lucky enough, could cobble together several revenue streams through music (as many freelancers today still do). The Great Depression changed that. While the unemployment rate of the US popualtion reached an all-time high for Americans at nearly 25%, for musicians it was closer to 70%. With the cuts that were happening with the normal classical music institutions and the loss of cinema work (cinema musicians were the only regular full-time 52 weeks per year occupations for musicians) due to the rise of sound movies most musicians had fewer revenue streams to draw from.
Enter the work relief programs. The CWA, FERA, and Federal Music project (as well as all the individual state relief initiatives) created jobs for musicians in many fields that were music related. Either as music teachers, music copyists (for scores and sheet music parts), or as members of all kinds of musical ensembles no just limited to orchestras, musicians were given a pool of resources to create those varied revenue streams again–and revenue streams which actually had to deal with music in some capacity rather than manual labor or civic work related projects to build infrastructure and other amenities.
In other words, relief programs allowed musicians to continue being musicians in effect creating government subsidies for Classical (and other genres of) music. This simply replaced how the classical music field was already being subsidized by private means since there were practically no full time Classical Music organizations. If these opportunities hadn’t been created, many musicians might have left the field completely to find jobs in fields which weren’t in decline–which is what Chinese American musicians had to do.
Chinese-Americans and Federal Work Relief programs
Due to the Chinese Exclusion act (which was still in effect during the depression) and the National Origins Act, the climate for Chinese Americans was pretty dire. Chinese Americans who did apply for relief were often treated the same as other non-white Americans in that they were put on the rolls for manual labor and not the special rolls created specifically for relief for white collar professions such as music and the arts.
Like the full-time (i.e. 52 week) cinema musicians, full time Chinese Opera performers lost their main source of incomes. Unlike the full-time cinema musicians and other classical trained musicians in the European traditions, the Chinese musicians didn’t have the same governmental relief sources for creating multiple revenue streams through various musical activities due to the differences between Chinese musical traditions from European ones–i.e. there were no relief positions for teaching erhu and Chinese singing as there were for teaching violin and choral singing; no positions for transcribing Chinese repertoire and copying it as there was for various ‘negro’ and Native American tunes or for scores and parts for composers in the European Classical Music tradition; and no positions in traditional Chinese ensembles as there were for European styled orchestras, Concert Bands, Dance Bands, Choral Groups.
What is a “Crisis?”
The question is, again, what if these programs weren’t in effect for Classical Music? What if this cultural and governmental funding structures didn’t favor European art traditions? As I stated above, “[a]fter the Depression, most of the earliest groups were “clubs” that did occasional performances rather than the 6-nights-a-week performances we saw in the pre-Depression years.”
Since we still have no lack of orchestras, operas, ballets–and since they’ve not failed in a short period of time such as what happened to Chinese Opera troupes in the US during the Depression–then talk about a Classical Music Crisis just belittles the fact that there have been very real musical crises in the music history of the US which practically decimated musical traditions that still haven’t recovered in any appreciable way.
It also lessens the impact of what we mean by “crisis” since, as I’ve been detailing in this blog over the years, nearly every thing cited as an example of the Classical Music Crisis is also happening in practically every live performing field in the US as well. Of course, I have an alternative hypothesis which can account for all these similarities in various arts and entertainment fields. The theory that can take into account more of the phenomenon while also being falsifiable (as the Classical Music Crisis “theory” isn’t) is far more useful–especially when it comes to predictions (e.g. solutions to problems). The hypothesis can also take into account things like the growth of ethnic orchestras in the US.
What about the rising ethnic orchestras?
While there has been a rise in traditional Chinese Orchestras and ensembles in the US, none are performing at the level that these pre-depression Chinese Opera troupes were, and most are mimicking the European-styled orchestras and ensembles (if not the repertoire) in ways that only make sense if we consider how much force European styled ensembles and orchestras and choirs still have in the US.
The same could be said of the Arabic Orchestras and Latin-American Orchestras–and I guess the question to be asked here is are these groups a continuation (or expansion) of Classical Music styled organizations, or some newer hybrid (despite the histories of these ensembles) which reflects ethnic communities and their desire for art music that they prefer? These are far more interesting questions to me, and have far-reaching implications for the evolution of music(s) in the US and the cultures that support them.