IS Classical music dying?
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The National Endowment for the Arts reported that in 2012, only 8.8% of Americans had attended a classical music performance in the previous 12 months, compared to 11.6% a decade earlier. "Older Americans are the only demographic group to show an increase in attendance over a decade ago". So why aren't more young people showing an interest in classical music?
It wasn't all that long ago when classical music was fun. People went to concerts for a variety of reasons: to be moved emotionally, to be entertained, and as a social event. Performances were a chance for artists and audiences to connect on a level unattainable in other media, as a form of mutual communication. Speaking to audiences, spontaneous applause (including in the middle of pieces), and on-the-spot improvisation were commonplace, with performers wooing audiences with their technical and interpretational prowess. That was real classical music.
But all of that changed in the 20th century when "rules of concert etiquette" began incorporating themselves into performances. Suddenly, clapping mid-piece was unacceptable. Applause between movements, or parts, of pieces became that way as well. Regular concertgoers would shoot glares of disdain toward anyone violating such rules.
Coughing? Forbidden. Performers speaking from the stage? Discouraged. Improvisation in a concert? Rarely done and almost never taught in even the most prestigious classical music colleges and conservatories. With this stifling atmosphere of rules and "appropriateness," it is no wonder that people (especially youth) are apprehensive and often uninterested in the whole idea of classical music. Somehow, classical music has become inaccessible and unwelcoming.
Some may say that classical music is outdated and because of that, young people aren't interested. But that contradicts everything I have seen in my profession and everyone I've talked to who works closely with students, both in and out of the music industry. Having had the opportunity to meet and teach children of all ages and from all backgrounds, from very small towns lacking music programs in schools to wealthy areas with plenty of arts funding, I have yet to meet a single one who was not genuinely interested in classical music when you discard all of the artificial, "classical" rules that usually accompany it.
Thankfully, this "classical" classical music of the 20th century is dying. As a pianist, I have the opportunity to help with this. For one, I love to talk to my audiences. Getting on stage and talking casually about each piece and what I think of it, how it makes me feel, and what to listen for immediately brings down the invisible wall between the performer and the audience. Instead of me standing on stage and them sitting and listening, it becomes an evening of conversation and of sharing emotions with one another through art. Some might criticize my decision, saying that it makes the event less formal. But that is exactly the point.
A few years ago, I began to program improvisation into the main part of my concerts. I would sit down and make up a piece that I had never played before, and eventually morphed that idea into a more interactive session where I ask audience members for random notes on the keyboard. Once I have four or so notes, the audience and I embark on a new, never-before-played piece that we create together. It is exciting and spontaneous, it is entertaining and interactive. Suddenly, the entire concert hall is involved in something magical that moves us all in a unique way.
Concert venues are also changing. Classical music is performed today not only in concert halls with thousands of seats but also in cabaret-style venues where audience members sip beer and wine while enjoying Beethoven and Chopin.
Breaking down such "classical" rules will kill "classical" music -- and thus save it. It will make the artform more accessible, more entertaining, and more disinhibiting, allowing for all of us to share more emotion and passion through the music. It will welcome those of us who are interested yet apprehensive about making the leap to buy a ticket to a concert. It will encourage more young people to have fun with the performing arts instead of viewing them as a necessary evil that requires a boring practice each day after school. And it is this death of "classical" music that will bring true classical music more life than ever.
https://www.cnn.com/2016/05/29/opinions/classical-music-dying-and-being-reborn-opinion-albright/index.html
It wasn't all that long ago when classical music was fun. People went to concerts for a variety of reasons: to be moved emotionally, to be entertained, and as a social event. Performances were a chance for artists and audiences to connect on a level unattainable in other media, as a form of mutual communication. Speaking to audiences, spontaneous applause (including in the middle of pieces), and on-the-spot improvisation were commonplace, with performers wooing audiences with their technical and interpretational prowess. That was real classical music.
But all of that changed in the 20th century when "rules of concert etiquette" began incorporating themselves into performances. Suddenly, clapping mid-piece was unacceptable. Applause between movements, or parts, of pieces became that way as well. Regular concertgoers would shoot glares of disdain toward anyone violating such rules.
Coughing? Forbidden. Performers speaking from the stage? Discouraged. Improvisation in a concert? Rarely done and almost never taught in even the most prestigious classical music colleges and conservatories. With this stifling atmosphere of rules and "appropriateness," it is no wonder that people (especially youth) are apprehensive and often uninterested in the whole idea of classical music. Somehow, classical music has become inaccessible and unwelcoming.
Some may say that classical music is outdated and because of that, young people aren't interested. But that contradicts everything I have seen in my profession and everyone I've talked to who works closely with students, both in and out of the music industry. Having had the opportunity to meet and teach children of all ages and from all backgrounds, from very small towns lacking music programs in schools to wealthy areas with plenty of arts funding, I have yet to meet a single one who was not genuinely interested in classical music when you discard all of the artificial, "classical" rules that usually accompany it.
Thankfully, this "classical" classical music of the 20th century is dying. As a pianist, I have the opportunity to help with this. For one, I love to talk to my audiences. Getting on stage and talking casually about each piece and what I think of it, how it makes me feel, and what to listen for immediately brings down the invisible wall between the performer and the audience. Instead of me standing on stage and them sitting and listening, it becomes an evening of conversation and of sharing emotions with one another through art. Some might criticize my decision, saying that it makes the event less formal. But that is exactly the point.
A few years ago, I began to program improvisation into the main part of my concerts. I would sit down and make up a piece that I had never played before, and eventually morphed that idea into a more interactive session where I ask audience members for random notes on the keyboard. Once I have four or so notes, the audience and I embark on a new, never-before-played piece that we create together. It is exciting and spontaneous, it is entertaining and interactive. Suddenly, the entire concert hall is involved in something magical that moves us all in a unique way.
Concert venues are also changing. Classical music is performed today not only in concert halls with thousands of seats but also in cabaret-style venues where audience members sip beer and wine while enjoying Beethoven and Chopin.
Breaking down such "classical" rules will kill "classical" music -- and thus save it. It will make the artform more accessible, more entertaining, and more disinhibiting, allowing for all of us to share more emotion and passion through the music. It will welcome those of us who are interested yet apprehensive about making the leap to buy a ticket to a concert. It will encourage more young people to have fun with the performing arts instead of viewing them as a necessary evil that requires a boring practice each day after school. And it is this death of "classical" music that will bring true classical music more life than ever.
https://www.cnn.com/2016/05/29/opinions/classical-music-dying-and-being-reborn-opinion-albright/index.html
RESPONSE
- Do you think classical music is dying?
- Can you recall a memorable concert experience you've had? Who did you see? Why was it memorable?
- Do you think breaking down "classical" rules will help save it?
transformative power of music
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Frédéric Chopin (1810–1849)
Frédéric Chopin was a renowned Polish and French composer who published his first composition at age 7 and began performing one year later. In 1832, he moved to Paris, socialized with high society and was known as an excellent piano teacher. His piano compositions were highly influential. As a pianist, his talents were beyond emulation and had an impact on other musicians entirely out of proportion to the number of concerts he gave — only 30 public performances in 30 years of putting on concerts. No one before or since has contributed as many significant works to the piano's repertoire, or come closer to capturing its soul.
His innovations in style, harmony, and musical form, and his association of music with nationalism, were influential throughout and after the late Romantic period (1770-1850). Chopin's music, high-profile love-life, and early death have made him a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying historical importance.
His innovations in style, harmony, and musical form, and his association of music with nationalism, were influential throughout and after the late Romantic period (1770-1850). Chopin's music, high-profile love-life, and early death have made him a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying historical importance.
Benjamin Zander (1939)
Benjamin Zander was born in England. His parents had emigrated from Berlin in 1937 to escape the Nazis, and raised their four children. At home, his father would regularly sing and play piano after work. Benjamin Zander started to compose music at the age of nine. Several of his compositions came to the attention of composer Benjamin Britten, who invited the Zander family to spend three summers in Aldeburgh, England, the beautiful seaside town where he lived.
Benjamin Zander is currently the conductor and Music Director of the Boston Philharmonic Youth Orchestra, a youth orchestra in Boston comprising both high school and college age students.
Benjamin Zander is currently the conductor and Music Director of the Boston Philharmonic Youth Orchestra, a youth orchestra in Boston comprising both high school and college age students.
RESPONSE
- What does it mean to be a one buttock player?
- Do you feel sleepy when you hear classical music? Why do you think that is?
- This piece is constantly delaying the end or gratification. Do you feel satisfaction when the piece finally reaches the end?
- Zander argues "Everybody loves classical music, they just haven't found out about it yet!". Do you agree?
- "I will never say anything that couldn't stand as the last thing I ever say." Do you think this is something we can aspire towards?