I'd recommend the link below to anyone who wants to avoid paywalls. It comes in handy, so bookmark it to your desktop or whatever. Scroll down a little and enter the url of the article you want to read into the second text box, then click on "search". Then click the link created.
This is really excellent. I spent a lot of time around 2008–2016 wracking my brain about how to get the youth interested in classical music. The answer seems obvious in retrospect, but of course social media wasn't as powerful back when I was considering it, meaning that diversifying audiences was pretty much impossible. This is a great development.
This is really excellent. I spent a lot of time around 2008–2016 wracking my brain about how to get the youth interested in classical music. The answer seems obvious in retrospect, but of course social media wasn't as powerful back when I was considering it, meaning that diversifying audiences was pretty much impossible. This is a great development.
This is really excellent. I spent a lot of time around 2008–2016 wracking my brain about how to get the youth interested in classical music. The answer seems obvious in retrospect, but of course social media wasn't as powerful back when I was considering it, meaning that diversifying audiences was pretty much impossible. This is a great development.
Making it fun?
A big part would be to shift the expectation from it being something good for you, that you have to earn and be deferential toward, to making it something people can enjoy on their own terms. Which is to say, remove it from its elitist position and all that that entails.
"Ah-ha-ha! Ever get the feeling you've been cheated? Good night." - Abraham Lincoln, Ford's Theatre, 14 April 1865
This is really excellent. I spent a lot of time around 2008–2016 wracking my brain about how to get the youth interested in classical music. The answer seems obvious in retrospect, but of course social media wasn't as powerful back when I was considering it, meaning that diversifying audiences was pretty much impossible. This is a great development.
Making it fun?
A big part would be to shift the expectation from it being something good for you, that you have to earn and be deferential toward, to making it something people can enjoy on their own terms. Which is to say, remove it from its elitist position and all that that entails.
I said pretty much that to a guy who ran an Early/Baroque company and he never responded to me. I think he was offended that I'd try to make it accessible even though that's basically what he was asking me for my opinion on.
This is really excellent. I spent a lot of time around 2008–2016 wracking my brain about how to get the youth interested in classical music. The answer seems obvious in retrospect, but of course social media wasn't as powerful back when I was considering it, meaning that diversifying audiences was pretty much impossible. This is a great development.
Making it fun?
A big part would be to shift the expectation from it being something good for you, that you have to earn and be deferential toward, to making it something people can enjoy on their own terms. Which is to say, remove it from its elitist position and all that that entails.
I said pretty much that to a guy who ran an Early/Baroque company and he never responded to me. I think he was offended that I'd try to make it accessible even though that's basically what he was asking me for my opinion on.
Coincidentally, I'm delivering a lecture later this week about how high culture was established in the US in the late 19th c, turning stuff like Shakespeare from democratic and populist entertainment to something highbrow, and so much of it was rooted in establishing behaviours of deference and earning it. It was deliberately about repositioning audience behaviour in a way that would exclude, which then came to be naturalized as highbrow vs lowbrow.
"Ah-ha-ha! Ever get the feeling you've been cheated? Good night." - Abraham Lincoln, Ford's Theatre, 14 April 1865
This is really excellent. I spent a lot of time around 2008–2016 wracking my brain about how to get the youth interested in classical music. The answer seems obvious in retrospect, but of course social media wasn't as powerful back when I was considering it, meaning that diversifying audiences was pretty much impossible. This is a great development.
Making it fun?
A big part would be to shift the expectation from it being something good for you, that you have to earn and be deferential toward, to making it something people can enjoy on their own terms. Which is to say, remove it from its elitist position and all that that entails.
I said pretty much that to a guy who ran an Early/Baroque company and he never responded to me. I think he was offended that I'd try to make it accessible even though that's basically what he was asking me for my opinion on.
Coincidentally, I'm delivering a lecture later this week about how high culture was established in the US in the late 19th c, turning stuff like Shakespeare from democratic and populist entertainment to something highbrow, and so much of it was rooted in establishing behaviours of deference and earning it. It was deliberately about repositioning audience behaviour in a way that would exclude, which then came to be naturalized as highbrow vs lowbrow.
I will say, however, that a certain amount of deference is good, otherwise you're going to get people socializing throughout the whole damn thing. But that's just the deference that anybody should have for any art and respecting the people around them. Might be a reason kids haven't liked classical in the past, because they're not allowed to tiktok or whatever in the middle of a performance. Stupid kids.
A big part would be to shift the expectation from it being something good for you, that you have to earn and be deferential toward, to making it something people can enjoy on their own terms. Which is to say, remove it from its elitist position and all that that entails.
I said pretty much that to a guy who ran an Early/Baroque company and he never responded to me. I think he was offended that I'd try to make it accessible even though that's basically what he was asking me for my opinion on.
Coincidentally, I'm delivering a lecture later this week about how high culture was established in the US in the late 19th c, turning stuff like Shakespeare from democratic and populist entertainment to something highbrow, and so much of it was rooted in establishing behaviours of deference and earning it. It was deliberately about repositioning audience behaviour in a way that would exclude, which then came to be naturalized as highbrow vs lowbrow.
I will say, however, that a certain amount of deference is good, otherwise you're going to get people socializing throughout the whole damn thing. But that's just the deference that anybody should have for any art and respecting the people around them. Might be a reason kids haven't liked classical in the past, because they're not allowed to tiktok or whatever in the middle of a performance. Stupid kids.
I'd rather people feel they're allowed to be exuberant and interactive, to show their interest. Let people show their investment into the experience.
"Ah-ha-ha! Ever get the feeling you've been cheated? Good night." - Abraham Lincoln, Ford's Theatre, 14 April 1865
A big part would be to shift the expectation from it being something good for you, that you have to earn and be deferential toward, to making it something people can enjoy on their own terms. Which is to say, remove it from its elitist position and all that that entails.
I said pretty much that to a guy who ran an Early/Baroque company and he never responded to me. I think he was offended that I'd try to make it accessible even though that's basically what he was asking me for my opinion on.
Coincidentally, I'm delivering a lecture later this week about how high culture was established in the US in the late 19th c, turning stuff like Shakespeare from democratic and populist entertainment to something highbrow, and so much of it was rooted in establishing behaviours of deference and earning it. It was deliberately about repositioning audience behaviour in a way that would exclude, which then came to be naturalized as highbrow vs lowbrow.
I will say, however, that a certain amount of deference is good, otherwise you're going to get people socializing throughout the whole damn thing. But that's just the deference that anybody should have for any art and respecting the people around them. Might be a reason kids haven't liked classical in the past, because they're not allowed to tiktok or whatever in the middle of a performance. Stupid kids.
I'd rather people feel they're allowed to be exuberant and interactive, to show their interest. Let people show their investment into the experience.
I can tell you that even zoomer violinists aren't going to be very interested in playing for an audience that's talking throughout.
I said pretty much that to a guy who ran an Early/Baroque company and he never responded to me. I think he was offended that I'd try to make it accessible even though that's basically what he was asking me for my opinion on.
Coincidentally, I'm delivering a lecture later this week about how high culture was established in the US in the late 19th c, turning stuff like Shakespeare from democratic and populist entertainment to something highbrow, and so much of it was rooted in establishing behaviours of deference and earning it. It was deliberately about repositioning audience behaviour in a way that would exclude, which then came to be naturalized as highbrow vs lowbrow.
I will say, however, that a certain amount of deference is good, otherwise you're going to get people socializing throughout the whole damn thing. But that's just the deference that anybody should have for any art and respecting the people around them. Might be a reason kids haven't liked classical in the past, because they're not allowed to tiktok or whatever in the middle of a performance. Stupid kids.
I'd rather people feel they're allowed to be exuberant and interactive, to show their interest. Let people show their investment into the experience.
I can tell you that even zoomer violinists aren't going to be very interested in playing for an audience that's talking throughout.
That's on them. Rock bands are used to people talking while they play, so why not people in an orchestra?
"Ah-ha-ha! Ever get the feeling you've been cheated? Good night." - Abraham Lincoln, Ford's Theatre, 14 April 1865
Coincidentally, I'm delivering a lecture later this week about how high culture was established in the US in the late 19th c, turning stuff like Shakespeare from democratic and populist entertainment to something highbrow, and so much of it was rooted in establishing behaviours of deference and earning it. It was deliberately about repositioning audience behaviour in a way that would exclude, which then came to be naturalized as highbrow vs lowbrow.
I will say, however, that a certain amount of deference is good, otherwise you're going to get people socializing throughout the whole damn thing. But that's just the deference that anybody should have for any art and respecting the people around them. Might be a reason kids haven't liked classical in the past, because they're not allowed to tiktok or whatever in the middle of a performance. Stupid kids.
I'd rather people feel they're allowed to be exuberant and interactive, to show their interest. Let people show their investment into the experience.
I can tell you that even zoomer violinists aren't going to be very interested in playing for an audience that's talking throughout.
That's on them. Rock bands are used to people talking while they play, so why not people in an orchestra?
For one, it's quieter, so the sound gets drowned out much easier, especially with chamber music. I think if people want to talk, they can go to the bar or do it after the show—there's a matter of consideration for the people around you who don't want to have the thing they came to hear drowned out by the conversation of somebody next to them. I don't see much difference between this and people talking during a lecture, book reading, or movie.
I will say, however, that a certain amount of deference is good, otherwise you're going to get people socializing throughout the whole damn thing. But that's just the deference that anybody should have for any art and respecting the people around them. Might be a reason kids haven't liked classical in the past, because they're not allowed to tiktok or whatever in the middle of a performance. Stupid kids.
I'd rather people feel they're allowed to be exuberant and interactive, to show their interest. Let people show their investment into the experience.
I can tell you that even zoomer violinists aren't going to be very interested in playing for an audience that's talking throughout.
That's on them. Rock bands are used to people talking while they play, so why not people in an orchestra?
For one, it's quieter, so the sound gets drowned out much easier, especially with chamber music. I think if people want to talk, they can go to the bar or do it after the show—there's a matter of consideration for the people around you who don't want to have the thing they came to hear drowned out by the conversation of somebody next to them. I don't see much difference between this and people talking during a lecture, book reading, or movie.
All solid points. I suppose I'd argue to people to be less disruptive for social reasons rather than out of reverence for the performance. Ultimately, what I'm arguing for is that audiences shouldn't enter into a situation where they feel cowed by what is to come, to believe they have to prove themselves worthy somehow.
"Ah-ha-ha! Ever get the feeling you've been cheated? Good night." - Abraham Lincoln, Ford's Theatre, 14 April 1865
I'd rather people feel they're allowed to be exuberant and interactive, to show their interest. Let people show their investment into the experience.
I can tell you that even zoomer violinists aren't going to be very interested in playing for an audience that's talking throughout.
That's on them. Rock bands are used to people talking while they play, so why not people in an orchestra?
For one, it's quieter, so the sound gets drowned out much easier, especially with chamber music. I think if people want to talk, they can go to the bar or do it after the show—there's a matter of consideration for the people around you who don't want to have the thing they came to hear drowned out by the conversation of somebody next to them. I don't see much difference between this and people talking during a lecture, book reading, or movie.
All solid points. I suppose I'd argue to people to be less disruptive for social reasons rather than out of reverence for the performance. Ultimately, what I'm arguing for is that audiences shouldn't enter into a situation where they feel cowed by what is to come, to believe they have to prove themselves worthy somehow.
