Killing classical music: more commentary on funding

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1. Keith Perreur-Lloyd says

   December 12, 2010 at 8:19 pm

   I sent this blog to a good friend who is a business consultant and received the following swift reponse.   KPL

    

   The term ‘Arts Programme’ for me as a Londoner immediately brings to mind heaps of dung, half a sheep in a glass case, a pile of bricks, or maybe random flashing lights. 

    

   There are many, I observe, for whom much contemporary music denigrates the ‘art’, so for those who are not inspired by ‘squawks and squeaks’ – or music played backwards …. or other such nonsense.  What has any of this to do with stirring, melodic, stimulating, haunting, or rousing musical works, either sung or performed by voices or orchestral instruments, I might ask.

    

   Doesn’t the term ‘funding’ have rather an unfavourable stigma? Isn’t the word itself associated largely with ‘those more unfortunate than ourselves’ in society?

    

   It is understood that some music organisations prefer to retain the traditional concept of classical music as it is financed and performed.  Some have recognised the need for more effort to make classical music a greater part of childrens’ education. Individual organisations have successfully applied a variety of modernisation programmes and techniques locally.  But for some who want to keep music alive today, perhaps there should be a concerted effort to regenerate the industry and transform aspects of it from within, using current day values and techniques for the promoting, performing, and enjoyment of classical music. 

    

   Free music is readily available now, especially over the internet. So why not make use this to stimulate the market for concerts, superbly filmed videos, etc. .

   Why not encourage the notion that ‘CULTURE IS COOL’ in society, whereby the disinterested or those unused to classical music can be drawn in to experience good music in an appropriate environment, rather than be made to feel uncomfortable or be seen by others in the audience as less educated or even inferior.  (An inability to sit absolutely still for 20 minutes or more, should not likewise be penalised!)

    

   Much is spoken about the needs of children in this arena. In behavioural and cultural terms, children are initially taught by example. Why not provide an opportunity for adults to try out musical instruments with some preliminary hands-on guidance. How many adults have, or have had, instruments at home that they ‘never got round’ to playing?

   These days many prefer to learn via short videos, supplemented by irregular one-to-one progress meetings, reminders, and social activity projects in a programme that be can fit in with their other life commitments – ‘open university’ style.

    

   Many are unable to know where to start, what to hear, and how to ‘get into classical music’, and would be embarrassed, more often than not, to admit it.

    

   I am not aware of any comprehensive market research that has been done on people’s classical music prejudices, preferences, ideas and dislikes.  Obviously some information is available, and this might be used as a basis for bringing together a practical set of actions to convert the results into reality.  Surely it is important to address issues that might lead to greater numbers being brought to classical music, as long as the ‘status quo’ is safeguarded for those who prefer it.

    

   Is this an opportunity for the business-wise amongst us, together with those and who have a passion for the rejuvenation of classical music. (maybe starting with choral societies), to form a small group (a classical music think-tank) to look into the prospects, options and issues concerning what seems to me, an increasingly urgent matter in the Western world?

    

   So – in a nutshell – rather than trying endlessly to entice often shrinking numbers in concert audiences, and forever having to face the uncertainty over the funding of any venture or organisation, that Comprehensive Research be undertaken; the Collective Brain-Power is applied; a step-change in Direction is taken; and a Cunning Implementation Plan is developed (including consultation and adoption where it is welcome), leading to improved interest and capital growth for classical music, the listeners, the performers, and the composers !!

    

   S

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2. Tim Sharp says

   December 12, 2010 at 2:31 pm

   In my travel to secure concert venues for the performances that take place at the conferences of the American Choral Directors Association, I meet with house managers of large performance spaces on a regular basis. These are the venues and individuals that book the theaters, opera houses, symphony halls, performing arts centers, black boxes, and other performance spaces and auditoriums we use for our concert performances. Over the last year, the message I have consistently heard from the house managers and the sales representatives of these venues is that the number 1 most popular event is “live music”, and the number 2 most popular event is “live stand up comedy.” Live music and live comedy are the hottest ticket for public interest for their discretionary dollar when it comes to music and performance.
    

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