The Problem
OK, from what I've gathered, the problem we've discussed here can be summed up by the following:
1. More contemporary music is being performed in some places than older music; this may be alienating younger listeners.
2. In this void, younger listeners turn to so-called pop music.
3. Schools are doing nothing to help.
Analyzing the Problem
With #1, we have a point that is perhaps debatable. I conceed the point that if all one hears of classical music is Elliot Carter or this Harrison-Birtwhistle fellow (whom I've never heard of before) alienation is possible. However, as I said, not all contemporary music is "bad" or "not music". Anyone truly determined to crack this nut will eventually come across John Corigliano or John Adams, the last half century's two best composers. They are probably much better, and are less likely to alienate. #2 continues that this alienation drives them to popular music. The explanation for this is the following:
1. Back in older times, the newest music was always emphasized, though older music would sometimes get a performance. Nowadays, people are trying to say that all contemporary music is bad, and therefore we should listen to nothing but older music. However, with younger people, the idea of "old" can drive them away more that even the worst contemporary music. So therefore, they listen to "pop."
2. The boundary lines between Classical and "Pop" are starting to fade. Several weeks ago, I heard a Christian CD in my sister's room. The song at the time was an instrumental, and it sounded like a string quartet. Also, just last week, I heard a CD by a band called Therion in the catagory of "Symphonic Black Metal." This was sort of like heavy metal, except there was a full orchestra with the band, and most of the vocals were done by a choir and sometimes even soloists singing in an operatic manner! And one of their numbers incorporated fugal passages for the Choir.
3. Singers like Pavoratti et al, who have truly horrible voices. Once, I heard a recording of the Three Tenors on the radio, and it didn't sound like they were singing, it sounded like they were shouting! Sometimes, their singing hurts.
And with #3, perhaps we do have a bit of a problem. The ideal time to pick up classical music is when you're young, and the schools are either ignoring it, or trying to forcibly cram it down young people's throats. Neither of these helps much.
The Solution
As several people commented above, sometimes their friends or family would come to them independently to ask for Beethoven et al CDs. The explanation is that they here them listening to it and get hooked. That illustrates part one of the solution: play the music to them in a non-invasive manner. When you don't try to force it on them, but let them come to you, they're more likely to be interested. This kind of listening should start when they're in the womb.
Second, in concerts, the sampling of contemporary composers should not be limited to one or two composers like say Carter or Harrison-Birtwhistle. Rather, a broad sampling of all contemporary music should be done, with some older music mixed into the concert. Eventually, people with gravitate toward the better of the contemporary composers, and music will go forward.
Third, recognize that the boundaries between classical and "pop" are starting to fade away. Once this is recognized, you can perhaps wean a rebellious child into classical through some of the popular music I mentioned earlier, and whatever else you can find in that area. To a certain extent, this is already being done; I once had a book (I can't remember the name) in which the author examined all Classical music from Baroque to Contemporary in a rock\roll context and gave a year-long program in which the listener spens a week listening to certain pieces of Clasical music and getting to know them, with some review weeks thrown in.
Fourth, start throwing more classical music into movies or cartoons and\or expose your kids more to the older cartoons. Julie has a valid point when she mentioned the fact that this introduced a generation of younger people to Classical music.
The most important thing to realize, though, it that all music is linked together in one way or another, and what affects one genre will eventually cross over into another. Once this is realized, the solution becomes obvious.
Bob
------------------
I am not a number, I am a free man!
[This message has been edited by Bob the Composer (edited 07-30-2001).]
OK, from what I've gathered, the problem we've discussed here can be summed up by the following:
1. More contemporary music is being performed in some places than older music; this may be alienating younger listeners.
2. In this void, younger listeners turn to so-called pop music.
3. Schools are doing nothing to help.
Analyzing the Problem
With #1, we have a point that is perhaps debatable. I conceed the point that if all one hears of classical music is Elliot Carter or this Harrison-Birtwhistle fellow (whom I've never heard of before) alienation is possible. However, as I said, not all contemporary music is "bad" or "not music". Anyone truly determined to crack this nut will eventually come across John Corigliano or John Adams, the last half century's two best composers. They are probably much better, and are less likely to alienate. #2 continues that this alienation drives them to popular music. The explanation for this is the following:
1. Back in older times, the newest music was always emphasized, though older music would sometimes get a performance. Nowadays, people are trying to say that all contemporary music is bad, and therefore we should listen to nothing but older music. However, with younger people, the idea of "old" can drive them away more that even the worst contemporary music. So therefore, they listen to "pop."
2. The boundary lines between Classical and "Pop" are starting to fade. Several weeks ago, I heard a Christian CD in my sister's room. The song at the time was an instrumental, and it sounded like a string quartet. Also, just last week, I heard a CD by a band called Therion in the catagory of "Symphonic Black Metal." This was sort of like heavy metal, except there was a full orchestra with the band, and most of the vocals were done by a choir and sometimes even soloists singing in an operatic manner! And one of their numbers incorporated fugal passages for the Choir.
3. Singers like Pavoratti et al, who have truly horrible voices. Once, I heard a recording of the Three Tenors on the radio, and it didn't sound like they were singing, it sounded like they were shouting! Sometimes, their singing hurts.
And with #3, perhaps we do have a bit of a problem. The ideal time to pick up classical music is when you're young, and the schools are either ignoring it, or trying to forcibly cram it down young people's throats. Neither of these helps much.
The Solution
As several people commented above, sometimes their friends or family would come to them independently to ask for Beethoven et al CDs. The explanation is that they here them listening to it and get hooked. That illustrates part one of the solution: play the music to them in a non-invasive manner. When you don't try to force it on them, but let them come to you, they're more likely to be interested. This kind of listening should start when they're in the womb.
Second, in concerts, the sampling of contemporary composers should not be limited to one or two composers like say Carter or Harrison-Birtwhistle. Rather, a broad sampling of all contemporary music should be done, with some older music mixed into the concert. Eventually, people with gravitate toward the better of the contemporary composers, and music will go forward.
Third, recognize that the boundaries between classical and "pop" are starting to fade away. Once this is recognized, you can perhaps wean a rebellious child into classical through some of the popular music I mentioned earlier, and whatever else you can find in that area. To a certain extent, this is already being done; I once had a book (I can't remember the name) in which the author examined all Classical music from Baroque to Contemporary in a rock\roll context and gave a year-long program in which the listener spens a week listening to certain pieces of Clasical music and getting to know them, with some review weeks thrown in.
Fourth, start throwing more classical music into movies or cartoons and\or expose your kids more to the older cartoons. Julie has a valid point when she mentioned the fact that this introduced a generation of younger people to Classical music.
The most important thing to realize, though, it that all music is linked together in one way or another, and what affects one genre will eventually cross over into another. Once this is realized, the solution becomes obvious.
Bob
------------------
I am not a number, I am a free man!
[This message has been edited by Bob the Composer (edited 07-30-2001).]
He certainly doesn't love all classical music, and I wouldn't expect a 10 year to!
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