Perception of classical music

[Peter]

Well I think this could be an interesting topic so I'll give it a go. Quijote mentioned in the Bruckner thread the social and class connotations of accents and it is true these do conjure up certain prejudices in us, but this is also true with music. With regard to Classical music specifically, society reacts negatively with a perception of snobbery and elitism - I recall a previous 'culture' secretary here in the UK referring to the proms of all things in just such terms. My opinion is that the reaction an individual has to CM reveals more about themselves than the music itself. So why is there this prejudice and are the right things being done to break down the barriers that many put up? By this I mean is it necessary to go down the route of pop music with more sexual imagery or is this counter-productive?

[Sorrano]

There are a couple of on air personalities that I think go a long ways to to bring Classical Music to the masses; Fred Child of Performance Today and Bill McGlaughlin of Exploring Music. Both of these men are very positive and upbeat about the music and musicians they talk about; I've never heard them negatively criticize anyone or any work. Their manner of speech is on a very personal level and lends itself well to engendering enthusiasm with the audience. I've always been deeply impressed on how they present the music to the public.

[Chris]

By this I mean is it necessary to go down the route of pop music with more sexual imagery or is this counter-productive?

I think that would be counter-productive, or at the very least pointless. Popular music can get by on appealing to the base emotions alone, but the distinguishing feature of great art is that it engages the intellect as well. If you buy a CD because there is an attractive young lady on the cover, and then you listen to it and get some Bach concertos, you will probably think to yourself, "Wow, this is the least sexy thing ever," and then forget about it. I suppose record companies think that using sex to sell CDs might work to get people to buy, and then once they have the product they will really discover a love for the music, but I don't think it really works that way. I would bet that most people who get into classical music do so because they hear a piece of music that touches them, they find out what it is, buy it, then start looking for similar things, learn more about it, seek out other music, and so on. Who the performer was didn't really matter.

[Chaszz]

I think that would be counter-productive, or at the very least pointless. Popular music can get by on appealing to the base emotions alone, but the distinguishing feature of great art is that it engages the intellect as well. If you buy a CD because there is an attractive young lady on the cover, and then you listen to it and get some Bach concertos, you will probably think to yourself, "Wow, this is the least sexy thing ever," and then forget about it. I suppose record companies think that using sex to sell CDs might work to get people to buy, and then once they have the product they will really discover a love for the music, but I don't think it really works that way. I would bet that most people who get into classical music do so because they hear a piece of music that touches them, they find out what it is, buy it, then start looking for similar things, learn more about it, seek out other music, and so on. Who the performer was didn't really matter.

This is not quite to the point, but I can't resist it. It seems to me part of the power of rhythm in music is possibly related to 1. its mimicking of the beating of the heart and 2. its mimicking of the rhythm of the sexual act.
I think slow movements or slow songs may be in the former category, especially in reminding us of our mother's heartbeat when we were in the womb, and fast ones in the latter category. Far from being non-sexual, the rhythm of Bach or Beethoven when they really get going in a fast movement is heavy, infectious and to me sometimes more than borders on the sexual. The best example for me in Bach is the Cum Sancto Spiritu from the B-Minor Mass. I invite anyone to sit down and listen to this and see how it fits as almost a programmatic depiction of the sex act. With Beethoven I think first of the first movement of the 7th Symphony. Another great one from Bach is the first movement of Keyboard Concerto No. 1 in D minor. Let's remember that Bach fathered 23 children and Beethoven probably would have fathered a few himself if he had gotten past his hangups.

Of course this kind of relationship between rhythm and sex can be obvious in jazz and rock, but classical music works this way also, I think. The point is that musical rhythm mimics and expresses basic human feelings in the same way that a minor key often expresses sadness or a major one joy. In this regard, perhaps classical music has no reason to be pointed in a more pop direction. Maybe it should be merchandised more as the solid rhythmic medium it so often is. I will pass, however, on recommending images for album covers.

[Symphony7]

... are the right things being done to break down the barriers that many put up? ...

More flashmobs are needed!

[YOUTUBE]http://www.youtube.com/watch?v=gww9_S4PNV0[/YOUTUBE]

And shopping centres should play better music too. I'm sure a lot of crime could be prevented if shoppers were forced to listen to classical music instead of rap, etc.

[Peter]

More flashmobs are needed!



And shopping centres should play better music too. I'm sure a lot of crime could be prevented if shoppers were forced to listen to classical music instead of rap, etc.

Very nice symphony7 and didn't Copenhagen metro look wonderfully clean and modern - not sure there would be much room left for commuters though on the train! Actually I'd prefer absolute silence when I go shopping, no muzak of any kind - something spontaneous though like your video would be wonderful!

[Enrique]

I thought this article could have a place in this thread:

http://www.huffingtonpost.com/richar..._ref=classical

[Peter]

I thought this article could have a place in this thread:

http://www.huffingtonpost.com/richar..._ref=classical

Whilst agreeing that applause between the movements of a symphony is perfectly acceptable and is generally happening more in any case, I disagree that wild interruptions and shouting are to be encouraged during the performance - most people who pay for their ticket do actually want to listen to the music. Of course we need to take the stuffiness out of CM by dressing more informally for example and I think it helps if the conductor talks to the audience to explain the piece in a good humoured manner.

Dare is clearly a product of the modern age which requires noise at all times and simply can't stand silence - most have simply lost the art of listening. Liszt was famous for walking out of a recital and refusing to play if talking was going on and rightly so. The 19th century audience Dare admires because of their shouting and screaming whilst 'listening' to their favourite opera singer demonstrates the culture of celebrity that we live with today. This was how opera was also generally experienced in the 18th century - the music had little to do with it and it is definitely not the way we need to go. How many people amidst all the noise and confusion of most pop concerts today are actually 'listening' to the music? They are simply caught up in the hysteria of the crowd which generally also involves copious amounts of alcohol and often drugs.

[Enrique]

Very well said. I think the man is an imbecile. Do you know what another person had to say about the article? "He does not realise that classical music IS a serious business. Why would we not want to listen in silence? The performers deserve to be able to play uninterrupted, knowing their skill transports us to a higher plane". And she added: "Also this writer splits infinitives, so cannnot be taken seriously by me".