Classical Music: Too Elitist or Not Enough?
I spend a good deal of time dreaming up bold and unconventional success solutions for the arts. While these proposals typically receive serious consideration from some corners, there are others who emotionally shoot them down immediately without any rational thought whatsoever. It seems the closer someone is to a position, the more threatening a fresh alternative can feel. Even if the current model is clearly not working.
All too aware of this human tendency, I pride myself on considering the merits of any and every proposal. Even if my gut reaction is “NO!” Especially when that’s the case.
And so it was last week, while witnessing a keynote presentation by Brittish novelist and music critic Norman Lebrecht at the Dutch Classical Music Meeting. Author of Who Killed Classical Music? Lebrecht is renowned for thoughtful but provocative, controversial perspectives.
In a talk entitled Reframing the Classical Music Experience, Lebrecht declared that one word that has been taboo for decades in the classical music world. We shy away from it at all costs. But as organizations look for new solutions that enable vibrancy and sustainability, we no longer need to fear this concept. In fact, we should embrace it:
E – L – I – T – I – S – M
Why shouldn’t we be elitist, he asked? Classical musicians represent some of the finest talent on Earth. They spend a lifetime working tirelessly to perfect their craft. We should celebrate that phenomenon, making classical events a special, elite experience.
I cringed. Designing more accessible classical music experiences was core to the “Artistry and Relevance” chapter in my book The Savvy Musician. My message is one of adamant anti-elitism. Or better yet, resolute pro-people-ism.
Is Lebrecht completely wacky, I wondered? Or was my violent resistance simply caused by a closed mind, too attached to personal viewpoints to imagine new possibility? Could becoming more elitist actually help classical music?
Forcing myself to stay open and logical, I pondered whether a valuable lesson could be gleaned from his shocking contention. And after a week of working through this puzzle, here is my epiphany-in-progress.
Elite Access
Without a doubt, there are times where feeling elite motivates. For example, I fly a lot, and cherish my status. Elite Access. That’s what the airline calls it. Going in a special line, getting bumped to first class, raking in miles faster than the other guys. It just feels special, and encourages loyalty. As bizarre as it may sound to a non-frequent flyer, elite status helps define a part of my identity. “I am an elite world traveler.” Spectacular!
Lebrecht suggests that the classical music experience become more selective. More tuxedo…More long pieces…More expensive tickets…More sophisticated audiences…Would adopting that paradigm help build loyalty and, in turn, revenue?
Hmmm…
Maybe the problem is that classical musicians today are too much in the middle.
“Anti-elitist” proponents make their concerts more friendly by featuring unusual venues, introducing pieces verbally, permitting the audience to clap between movements, and substituting business casual for wedding formal. But from an event perspective, these shows still pale in comparison to their popular music counterparts. The audiences still listen politely. Performers still hide behind music stands, sit respectfully center stage, and disappear during intermission. There are no light shows, mosh pits, dance competitions, Lady Gaga outfits, or sing-alongs. Such experiences may be profound, but not particularly populist.
On the other hand, consider more “serious” events such as traditional orchestra concerts. The hall is still breathtaking. The pieces are still long and glorious. The musicians still look as serious as brain surgeons. But these otherwise high society events are made slightly more accessible by the availability of cheaper tickets, pre-concert lectures (lectures?), and a conductor who shares some words from the stage. Slightly more approachable for the uninitiated, but also less exclusive.
Splitting the Difference
One gargantuan challenge for most classical organizations is expanding their fan base. The current audience consists primarily of seniors accustomed to time-tested conventions. But they hope to attract younger folks as well, who have different expectations about what a concert experience should deliver. So, in an attempt to be all things to all people, ensembles design some type of middleground that isn’t particularly elitist or populist. Said another way: In an age where many people seek extreme, niche experiences, these groups split the difference.
Two Classical Musics
Maybe we need two classical musics. Classical-A is exclusive, hardly available to the masses. For Elite Access, you must pony up, dress up, and pay up. Anyone who learns this club’s secret handshake is far above average. They are exceptional human beings with exceptional taste.
Classical-B provides hip, fun, interactive entertainment presented in user-friendly formats. The only audience these events discriminate against are ultra-snobby stuffed shirts, who eat caviar while wearing a monocle on their yacht. Of course, Classical-B still features extraordinary virtuosity, beauty, and many other unique dimensions its creators can access. But this is first and foremost an art of the people.
Cages & Rainbows
Norman Lebrecht may have rattled my cage, suggesting that expanded elitism might be good for classical music. It’s doubtful I’ll be joining that camp anytime soon. I’m too busy fighting for new audiences. For the opportunity to touch many more lives, not fewer.
But perhaps there’s a pot of gold on both ends of this rainbow. The trick is committing to one side.
What do you think?
54 Responses to “Classical Music: Too Elitist or Not Enough?”
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DAVID CUTLER balances a varied career as a jazz and classical composer, pianist, educator, arranger, conductor, collaborator, concert producer, author, consultant, speaker and advocate. Dr. Cutler teaches at Duquesne University, where he also serves as Coordinator of Music Entrepreneurship Studies.
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Do I think classical music should be an elite art form? While it is important that this music should get a fresh new following maybe a little elitism would help. I’m not saying that elitism is the answer though. There is always another course to get to the same answer. Maybe in this case it’s up to the next generation to inspire a movement among youth. Whatever we are be able to do, we should.
I feel like music has been far too long considered a wishy-washy activity by many, to the point where many feel elitism will kill the craft. We cannot change the minds of the masses when we accept this opinion and allow it to exist. Although I doubt elitism will ever be accepted in music as a standard among the public, I believe that true, serious musicians should treat it as such. Just like with any other organized activity, group, or lifestyle, there will be people on top no matter what we do. Ignoring this fact will do nothing but promote mediocrity. As musicians we should, in my opinion, embrace elitism for the sake of our craft. However, for the public mind I doubt that this will ever be the opinion of the masses UNLESS we take the first step to accept our own role in producing fine and talented musicians.
I’ve never thought to embrace the elitist aspects wholeheartedly before, but I agree that the middleground doesn’t lend itself to a particular demographic. I don’t see why a group can’t put on both kinds of entertainment, though. Interesting!
I am a concert promoter and not a musician and my thoughts are – You have to KNOW your audience and take a RISK. You cannot be all things to all people. My concerts are well attended and our audiences in different towns in my chosen region tend to be elderly, middle-aged and primary school aged children. My collaborators and I decided from day one, that we would not waste time trying to attract “pop music” teenagers as audience and our sold out concerts have proven we made the right decision for the time being. I say, for the time being because we are only as good as our next concert. My instinct is, it is not a question of being elitist or populist as [your] audience demographics in one town may love a down to earth interactive event (no matter their ages) whereas another town/venue audience may think that superficial. Have your barrel full of different wares by all means but first knowing your audience is the bottom line before you step out by faith. How you get to “know” your audience is another matter.
[...] Is Classical Music too elitist or not enough? [...]
You hit the nail right on the head here. As someone who’s business kind-of revolves around a music organizations take on elitism, I’ve been struggling with where I stand on this issue. I can see the point of both sides, and yet, whatever most music organizations have been doing, obviously isn’t working.
You made it so clear… both sides can be right, as long as you pick a side and stick with it. Middle ground is bad business.
Thanks!
Any discussion about elitism and classical – or “art music” – would be incomplete if it failed to recognize that the great “stars” of our musical Firmament, the Great Masters from the Baroque and Classical period, such as Bach, Mozart, Handel and Haydn were, for lack of a better phrase, servants. While composition may have been regarded as an art, composers were not highly regarded. When Mozart was charming the Emperor in Vienna he was being ordered to return to Salzburg by his patron, the Prince Archbishop of Salzburg. He was not free to change employers as one is today.
It wasn’t really until Beethoven’s day that the individual as composer emerged, and it likely required the strength of Beethoven’s acerbic personality to aid in that, though the advances of Republicanism may have had something to do with it as well.
The point is, as a composer myself it has always been my belief that music HAS to be socially relevant – all art must be socially relevant as it is a reflection of the society from whence the artist came. We (composers) write music for a number of reasons, but the most common one – the one that compels me more than any other – is to express an idea that cannot be expressed any other way … to express the ineffable. When words fail we can use pictures, when images fail, there is sound; when sound fails, we are consigned to silence and darkness.
Elitism is the worst kind of corruption that has infected society – it is the scourge of humanity. What does it matter how someone is dressed when they go to a concert, or – for that matter – whether someone is dressed up like a penguin on stage to perform a concert of classical music? One of the best concerts I ever attended saw the performers wearing black jeans and turtle-neck sweaters … wow – did the world end? Hardly! It was a fantastic performance (a piano trio) that included classics and modern repertoire. Since the performers were so relaxed (in dress), when it came to introducing the contemporary music the audience seemed to be much more receptive – and gave the piece a standing ovation.
Personally, I’ve attended orchestral concerts wearing shorts – and performances of my own pieces wearing jeans and sweaters – I don’t own a tux. At least I make the concession of wearing black jeans.
“The current audience consists primarily of seniors accustomed to time-tested conventions.”
My reaction to this is that this has always been true. The symphony audience, the opera audience, have always been gray and probably always will be, and people have been bemoaning this for decades. As one customer shuffles off this mortal coil, though, another one retires or gets a raise or sends the last kid off to college and finally has the time, disposable income, and attention span to appreciate what we do.
Yes, we should reach out, and do music of our own time, and entice newcomers of every demographic to discover us, and embrace new technologies that offer us new ways of doing all these things, but symphony audiences are never going to consist primarily of those under 40, and I think maybe we should stop worrying about that quite so much.
It’s clear that writer and commenters (not to mention Lebrecht) all have a slightly different interpretation on what is meant by “elitism” and by “elite” (in themselves distinct concepts), and yet no one has truly defined their terms before launching into the argument.
I absolutely agree with Angela’s comment above. The (beneficial) distinction between elite and elitism hasn’t been made clearly or enough. I believe you can partake in something elite (in this case, the art form and the talent) while avoiding elitism.
[...] Cutler, author of The Savvy Musician and the voice behind the Savvy Musician blog, recently posted a think piece wrestling with a question that I, for one, never thought would resurface in the classical music [...]
Interesting points here in this article. There is a tension reflected in this discussion that I have perhaps experienced in reality in some of my orchestral experiences in my area of the country. I believe that those raising some question over the definition of the term may have a point. However, the important factor to keep in mind is that the performer or organization should not be patronizing to false perceptions of the art on either side of the discussion. Our art is a magnificant experience that takes enormous ammounts of dedication to present at a high level, but one that everyone can experience on some level. We should not be forced to “dumb it down” yet at the same time we should not be forced to cater only to a high society “social club” mentality either. I have played music for hundreds of squirming elementery school kids glued to what is going on on stage, and I have performed for special events that appeal to the highest levels of educated society who have on occasion given the impression they care more about how their presence at such an event makes them appear, more than they are interested in the music performed. And I understand the place of both and the need to bring music to both. But politely educating and communicating to all about our craft and attempting to prevent false perceptions of our art is important to shaping our present and future success. Thanks again for helping create thought!
From my perspective, the defining, ‘elitist’ element that makes art music different from pop music is the degree of investment that the audience member must bring to the experience. Audience members must be active listeners at a classical concert to be able to receive the full performance. Rock/Pop Concert audience members enjoy a more diffused, multi-sensory experience that requires less active engagement.
As music director of both a community choral and a professional instrumental ensemble, I struggle with programming and venues to make my concerts appealing while not dumbing down content. I have found that if I can place the music within a greater context, the audience will come, and that audience will represent all ages, not just seniors.
I believe that art music, in fact fine art in general, has marginalized itself to society in general due to its preoccupation on excellence for its own sake. Excellent orchestras, dance companies, and opera companies are going bankrupt throughout the country for a variety of reasons, some of which have to do with 19th century institutions refusing to ‘retool’ for a 21st century world. However, a large part of that retooling has to do with creating excellence at the expense of expression that communicates. If the audience feels no connection than the best music making in the world will seem irrelevant to them.
I appreciate this article and the thoughtful responses to it. This discussion is critical to the vibrancy of art in America. Thank you, Dr. Cutler.
Elitism as a marketing tool? It might work for obnoxious automobiles and diamond-encrusted mobile phones, because those things provide consistent and ongoing status reassurance for the people who need it, but (perhaps depending on where you live) I’m not sure that the market for overpriced, snobby-for-snobby’s-sake music performance is really that huge. Are there that many people out there who are really keen to brag about how much they paid for orchestra tickets?
perhaps this TED talk from Malcolm Gladwell and spaghetti sauce might shed some light on the argument of “to be (elitist) or not to be”.
http://www.ted.com/talks/malcolm_gladwell_on_spaghetti_sauce.html
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