The Social Function of Classical Music and its Future
David Oschefski
Abstract- Using sociological and music research the history and role of classical music's social
function is explored. The history of classical music is outlined outlined to helped show patterns in the ever changing social function and what had effected it before the 2th century cen tury composers. !ociological effects and studies are then used to describe how music's social function can be altered or perpetuated by society or even composers. "ossible methods to restore restore a social function or at least build more interest are investigated# and a call to change the current state of classical music's social function is emphasised# so not $ust the educated and high class can indulge in the music of %the masters.%
&n today's society it classical music has lost some of its audience appeal compared to what it once had before the 2th century. ith ith massive leaps in technology# a change of economics# and many big social movements the world is a much different place now than it was then. (usic written by )ach )ach used to be performed for events and social functions# and while while he was also paid# that focus was on the social aspect. )ut why is that music not used for those things today* hy does it seem like classical music has almost almost fallen out of popularity or at least have a much different audience now* hat has caused this and what can be changed* (y hypothesis for this change in audience and popularity has been an effect of many things# society# society# economics# technologies# and also also a change in music. & believe the aspect that that touches on all of these is the social one. (usic is written for people to en$oy# en$oy# however# many many people en$oy music differently# differently# and the +uestion of why they en$oy it is almost individual. individual. & will
explore the change of the th e social function of classical music# and social factors that continue to have an effect on the seemingly changing popularity and audience of classical music. & will start with a little little of the history of the social function of music. !tarting in the middle ages music had been used in secular and non,secular settings# while one more for entertainment and the other a ceremonious cere monious role. The non,secular music is clearly seen through church music# but secular music was being performed by minstrels who would travel with aristocratic figures and entertain them and others with songs# mainly about the aristocrats $ourneys or victories.- Throughout the middle ages music became more in demand for churches# nobility and the middle class# to improve ceremonies# salute them# and add pleasure in their life. 2 This would eventually lead to court musicians being employed# with many organisations# churches# public theatres# academic institutions# and even public concerts# preserving music and even teaching it. (usicians would become court composers and be asked to write pieces for a number of events# including public concerts# co ncerts# which did so well some composers would freelance and make at least a decent living from the profits. s court musicians were more more common before freelance composers it shows that music somewhat had a social function that was for entertainment# but with that being said court musicians were also mainly employed by higher class individuals# thus also being use as a status marker. s the mid -/'s approach a change of the music being played in these public concerts shifts. &n the beginning of the -/'s -/ 's almost /0 of the music being performed in 1ienna# "aris# ondon and eip3ig was being written by composers living at that time# in the mid -/'s that
- 4enry 5aynor# A 5aynor# A Social History of Music: From From the Middles Ages to to Beethoven in Society 67ew 8ork9 8ork9 !chocken )ooks# -:;2< # =>. 2 5aynor# A Social History of Music: From From the Middles Ages Ages to Beethoven in Society, >>.
figure would be reversed.? )ecause of the industrial revolution and the p rinting press sheet music was more available and cheaper than ever. This made the works of )eethoven# )ach and other great composers much more recogni3able and popular# the audience began to feel as though this music belonged to them# they were comforting#= %classical music is approved music@ it is politically and socially safe.%> &t had also changed the view of a musical experience from a social one to an individual one.A Boncerts had once been used to gather specific audiences not primarily the listen to music# it was a merely a part of a situation or event#; it was being used to fill a social function. %illiam eber has recently argued that %the new respect for the masters was as much a commercial as an artistic phenomenon% growing %directly from the burgeoning industries of music publishing# instrument manufacture# and concert management.%/ This change seems to me that music was now being taken more seriously# not $ust by the higher classes# but now by the growing middle class who can now access this music# and not $ust hear by play# and study it. nd in a world without recordings# the chances of hearing a )eethoven symphony were much less than they are now.
? "eter C. )urkholder# %(useum "ieces9 The 4istoricist (ainstream in (usic of the ast 4undred 8ears#% The Journal of Musicology 2# no. 2 6-:/?<9 --;. = Cames "arakilas# %Blassical (usic as "opular (usic#% The Journal of Musicology ?# no. 6-:/=<9 -. > "arakilas# %Blassical (usic as "opular (usic#% --. A )urkholder# %(useum "ieces#% --/. ; &vo !upicic# Music in Society: A Guide to the Sociology of Music# vol. = of Sociology of Music 6!tuyvesant# 789 "endragon "ress# -:/;<# ->=. / )urkholder# %(useum "ieces#% --A.
This created the concept# as described by )urkeholder# of the %masterpiece#% or a %museum piece.% These %museum pieces% had lost their original social function# dances were not being danced to# ceremonial pieces were being played with a ceremony# these pieces were being played instead as art pieces.: hile this still caused the audience of 'classical' music to grow it also made it much more difficult for even prominent composers to write pieces that were well written and would make them popular .- (any orchestras and organi3ations and institutions were now maintaining a classical repertoire and somewhat ignoring new music.-- This had changed the relationship between the musicians and the audience# where musicians had once responded to the demand and commands of the people who were paying them or at least supporting# was now almost lost in 'serious' music as composers started to write what they wanted to# to sound different# and not what the %mass audience% wanted.-2 %&t became increasingly the pleasure of a cultured elite rather than an immediate communication between men and women... a divided society was left to make do with a divided art.% -? &n almost a century the public concert had changed the way music was soon to be written. ith the %mass audience% wanting pieces sounding similar to )ach and )eethoven because of their new accessibility and familiari3ation with their works# some composers found it difficult to find their own style while having a lasting value. &t even changed the social function of public : )urkholder# %(useum "ieces#% --:. - Bhristopher )allantine , Music and its Social Meanings# vol. 2 of Musicology Series 67ew 8ork9 ordon and )reach# !cience "ublishers# &nc# -:/=<# -. -- "arakilas# %Blassical (usic as "opular (usic#% 2. -2 !upicic# Music in Society# -A=,-A>. -? 5aynor# A Social History of Music# ?>>.
concerts to being almost an academic setting itself. This drove composers# such as !choenberg and ebern to create music that had no social function# %music that was very difficult to listen to and very rewarding to analy3e and study.%-= This proves to be problematic on its own however as with no social function it would never be heard or outside of an academic or concert setting#-> %communication with an audience became secondary as the ideal of creating music of lasting value became paramount.%-A This is a time where & believe that the classical music audience starts to diminish or at least begin to alter. hile there is still music being written with a social function# such as religious music# movie background music# etc# %the popularity of classical music continues to be speciali3ed#%-; %its audience is by and large elite.%-/ ith the trend of new composers writing more difficult music it seemed to attract or imply this music was more for an intellectual audience.-: %Blassical music is a challenging art form in which many people are uninterested.%2 long with this seemingly now exclusive style# the ritual of a classical music performance# separated sociali3ing areas# separated priced seating# little decoration# individual seating# and the lack of
-= )urkholder# %(useum "ieces#% -2>. -> )urkholder# %(useum "ieces#% -2;. -A )urkholder# %(useum "ieces#% -2. -; "arakilas# %Blassical (usic as "opular (usic#% -. -/ "arakilas# %Blassical (usic as "opular (usic#% 2. -: !tephen Davies# %5ock versus Blassical (usic#% The Journal of Aesthetics and Art Criticism >;# no. 2 6-:::<9 -:=. 2)onita (. Eolb# %Blassical (usic Boncerts can be Fun9 The !uccess of ))B "roms#% nternational Journal of Arts Management -# no. - 6-::/<9 -:.
communication between the performers and conduc tor except for a brief# almost organi3ed applause and a bow# became more misunderstood and created discomfort and a feeling of not belonging.2- This was the opposite of how popular music was developing# popular music was becoming much more centered around the voice and lyrics.22 n audience can identify with the tone of a voice# and lyrics can help an audience express their own emotions# %as if we get to know ourselves via the music.%2? This starts filling the gap of a music with a social function# a relationship and connection between the composerGartistGperformer and their audience and in a much less complex and academic way. This would now create and perpetuate a distinction between classes. (usic secured an larger role in social identification# the society would use music %to create for ourselves a particular sort of self,definition# a particular place in society.%2= This was not only true for choosing music we liked but also by defining music we did not like# music with which people did not want to be identified.2> This distinction between classes seemed to be an accidental effect from public concerts# printed music# and composers wishing to write popular but with their own style# however# there is reason to believe that some composers wanted this to be distinct. !choenberg stated that %&f it is art# it is not for all# and if it is for all# it is not art.% 2A lthough !choenberg had written more modern music as opposed to 'classical' music# 'classical' music seems to be an 2- Eolb# %Blassical (usic Boncerts Ban be Fun #% -;,-/. 22 !imon Firth# %Towards an aesthetic of popular music#% &n Music and Society: The !olitics of Com"osition, !erformance and #ece"tion# ed. 5ichard eppert and !usan (cBlary 6Bambridge# "ress !yndicate of the University of Bambridge# -:/;<# -=>. 2? Firth# %Towards an aesthetic of popular music#% -=2. 2= Firth# %Towards an aesthetic of popular music#% -=. 2> Firth# %Towards an aesthetic of popular music#% -=.
umbrella term covering from medieval music to avant,garde# which would then group them all into the 'elite' and exclusive audience. This 'elite' audience and characteristic is perpetuated by commerciali3ation of classical music# as stated earlier# it is a %comforting% genre for many and therefore becomes associated with a 'comfortable' lifestyle and 'class'. % &t suits the selling of wine or wine,based mustard $ust as country,western suits the selling of hot dogs.%2; This distinction can be seen in many different aspects from a sociological perspective# through social mobility# symbolic exclusion# implicit musical boundaries# social groups# even age# generational cohorts# education and can have an effect of one's musical taste. )ased on the now 'intellectual' characteristic associated with classical music it would be right to assume that education would definitely predict on e's preferred taste of music and their social class. &n )ourdieu's $istinction# using data collected from a survey in -:A?# and -:A;,A/# there is a clear preference for what )ourdieu had labelled more 'highbrow'# or legitimate taste'# compositions# such as the %ell&Tem"ered Clavier with higher educated individuals.2/ Using the participants class fraction occupation he draws a conclusion that shows a positive correlation between the preference for 'legitimate taste' and occupations re+uiring more education.2: This higher education can lead to social mobility# the movement of from one social class to another# and# according to )ourdieu# social class plays a ma$or role in one's musical taste preference.? 2A )allantine# Music and its Social Meanings# :2. 2; "arakilas# %Blassical (usic as "opular (usic#% -=. 2/ "ierre )ourdieu# $istinction: A Social Criti'ue of the Judgement of Taste# trans. 5ichard 7ice 6Bambridge# "ress !yndicate of the University of Bambridge# -:/;<# ->. 2: )ourdieu# $istinction# -/. ? )ourdieu# $istinction# -?-,-?2.
)ourdieu uses the theory of 'aesthetic disposition' to help describe this relationship of social class and taste. 4e explains that taste helps one's social orientation# helps them %express one's own sense of social value.%?- This %sense of social value% and social orientation pushes individuals in social classes to %detached# disinterested or indifferent towards a certain aesthetic of music or culture# to show their status# help identify themselves.%?2 The idea of higher class and lower class being divided by a high and low form of culture# classical and pop music# is more of a generali3ed concept. "eterson and Eern's findings show that over a span of - years# -:/2,-::2# there is an increase in highbrow omnivorousness??# that is someone who has tastes in both high and middlebrow or at least shows openness to appreciate them.?= This significant change is suggested to have happened because of a structural change# value change# art,world change# generational politics and status,group politics.?> ll these changes have worked towards a smaller divide or distinction between the classes# or a breakdown of previous expectations or ideals. This shrinking distinction between high and lowbrow with the ide a of omnivorousness still does not separate the association of higher classes and some highbrow genres# such as classical music and opera.?A This could be related to social mobility# as social mobility seems to be more prominent in a culture where higher education is becoming much more common. 4owever# the ?- )ourdieu# $istinction# =;=. ?2 )ourdieu# $istinction# >A. ??5ichard . "eterson and 5oger (.Eern# %Bhanging 4ighbrow Taste9 From !nob to Omnivore#% American Sociological #evie( A-# no. > 6October -::A<9 :2. ?= "eterson and Eern# %Bhanging 4ighbrow Taste#% :=. ?> "eterson and Eern# %Bhanging 4ighbrow Taste#% :>,:A.
line between highbrow and lowbrow itself is becoming more vague as the rise of mass media is producing much more cultural products.?; The line becomes more blurred as we take into account individual's tastes and what can change them one a more personal basis. Blass dis,identification and cultural stereotypes can be used to see a temporary or more lasting effect on one's personal taste. 5eeves experimented by showing vignettes describing a woman with either working,class signals# or with middle,class signals# then asking for the respondents own cultural preferences.?/ The experiment showed that the working,class participants were more likely to have a negative preference for classical music after viewing the vignette.?: 4owever# when the middle,class respondents believed that he woman would not en$oy The Culture Sho(# a ))B arts and culture show# their preference for classical music would be more positive.= This can explained through social value of the self# and class dis,identification. ithin the working,class showing a preference for classical music runs the risk of one being called a 'snob'# being labelled a 'snob' in a social setting can increase the cultural distance between two people# and in doing so lowers one's social value of the self. =On the other hand# it seems almost contrary for middle,class respondents. The risk of being ?A "hilippe Boulangeon# %!ocial (obility and (usic Tastes9 5eappraisal of the !ocial (eaning of Taste Hclecticism#% !oetics >- 62-><9 >A. ?; Boulangeon# %!ocial (obility#% >A. ?/ aron 5eeves# Hmily ilbert# and Daniel 4olman# %Blass dis,identification# cultural stereotypes and music preferences9 Hxperimental evidence from the UE#% !oetics > 6(arch 2-><9 >. ?: 5eeves# ilbert and 4olman# %Blass dis,identification#% >?. = 5eeves# ilbert and 4olman# %Blass dis,identification#% >/. =- 5eeves# ilbert and 4olman# %Blass dis,identification#% >:.
labelled a 'snob' is much lower considering the similar social positions between the respondent and the vignette# so showing a positive preference for classical music may actually improve your social value as the other person may see the value in this preference.=2 This use of classical music in class dis,identification has shown the success in perpetuating classical music for a more 'elite' audience# and to continue to change the social function of classical music from entertainment or social experience to a status marker. This association of higher education# classical music preference# and social mobility can be seen again in !tern's analysis of surveys on arts participation from -:/2 and 2/. !tern looks at in birth cohort# age and educational attainment as factors for arts participation# such as attending events like concerts# reading literature# going to museums# etc. ithin these surveys !tern find that the classical music attendance had fallen from -?0 in -:/2 to :0 in 2/.=? 4e shows that while age and cohort do play a significant part in arts participation they are n ot as strong as education attainment. == This higher education usually leads to a higher occupational status and that showed % higher rates of appreciation for potentially %elite% cultural forms% and % higher rates of appreciation for middle, and lowbrow forms as well.%=> This brings us back to the 'omnivore' idea of taste preference for the higher class# which was much more associated with the generations from the orld ar && cohort and the early )aby,
=2 5eeves# ilbert and 4olman# %Blass dis,identification#% >:. =? (ark C. !tern# Age and Arts !artici"ation: A Case Against $emogra"hic $estiny# 6ashington DB9 7ational Hndowment for the rts# February 2--<# ?=. == !tern# Age and Arts !artici"ation# =2. => !tern# Age and Arts !artici"ation# -A.
)oom cohorts.=A !tern had also noted that between 22 and 2/ the amount of omnivores had dropped significantly and with that there was also a decline of arts participation# as omnivores had been responsible for >/0 of all events attended since -::2.=; This link between cohort# omnivorousness# and a fall of events attended could very much in fact account for the =0 drop in classical music attendance notes earlier# as he states# %while the aging of the arts audienc e was real# it was less a product of changes in people's taste and behavior# than of the aging of the overall population.%=/ hile aging may be a result of these numbers there was still a decline in youth interest# this could be related to a change in the social function of music as a status marker as !tern states# %Bultural participants were no longer willing to let their social status define what cultural tastes were acceptable for them%=: and %The ability of established or emerging arts groups to attract participants will have less to do with the age distribution of the population than with their ability to connect to the creative aspirations of their potential audiences.%> This is a prediction that in order for classical music to stay relevant with the population they must once again have a social function as more than $ust a status marker and more towards an entertainment role. Unfortunately# this status marker function is still being fre+uently employed# however# there is still hope for classical music within symbolic exclusion. !ymbolic exclusion is the re$ection or acceptance of musical tastes or aesthetic dispositions of older members of a social class by newer =A !tern# Age and Arts !artici"ation# -:. =; !tern# Age and Arts !artici"ation# 2. =/ !tern# Age and Arts !artici"ation# -/. =: !tern# Age and Arts !artici"ation# 22. > !tern# Age and Arts !artici"ation# 22.
members of this class. For example# if a person had started in the middle class and successfully moved into a higher social class# becoming social active and aware of others in the class this person may decide to re$ect their taste in opera while accepting classical music as a new taste and keeping pop music as a preference usually excluded from higher classes. This would help the individual to still become accepted within the social but also become distinguished within it. ith musical tastes i3ardo and !kiles show that people with higher education are more likely in 2-2 to dislike classical music# -;0 chance# as opposed to an /0 chance in -::?. &nteresting enough# participants with lower education showed a negative change in the probability of disliking classical music for social exclusion. >- The one issue with i3ado and !kiles findings is that many music genres seem to be becoming used less for social exclusion# most classes are accepting multiple different genres and tastes# only country# bluegrass# folk and religious music showed a higher probability of being disliked by higher education and higher classes.>2 This# once again# points to the omnivorousness of higher classes# and the declining use of classical music as a status marker. The concept of omnivorousness is based on whether an individual likes or dislikes highbrow and lowbrow tastes# but as !onnett explores# there is also feelings of indifference and ambivalence towards musical genres and styles. !onnett surveyed students from the University of (ississippi about their musical tastes on a ;,point scale so students could clearly identify if they %liked it a lot#% had %mixed feelings#% or %disliked it#% and also a %don't know% space.>? 4is results showed that classical music was in fact one of the most disliked genres with >0 of students# and also >- Omar i3ardo and !ara !kiles# %(usical Taste and "atterns of !ymbolic Hxclusion in the United !tates -::?,2-29 enerational Dynamics of Differentiation and Bontinuity#% !oetics 62-><9 /,:. >2 i3ardo and !kiles#%(usical Taste and "atterns#% ;.
one of the least liked genres with approximately --0 of students. The interesting result is that ?0 of students had mixed feelings towards classical music.>= One case in specific in !onnett's article is %Case )*: (hite female am+ivalent %# this respondent states that classical music is %dislike% but she also says that she en$oys listening to it while stud ying.>> hile !onnett gives the suggestion that perhaps this is 'social desirability bias#' perhaps the respondent didn't wa nt to seem 'snobbish'# or perhaps it is classical music being used in a different# not so much as social status marker or for a social function in a group such as entertainment. &t is filling a more individual need# a comforting need# such as when the 'masterpieces' were being played in public concerts# they were familiar# they were socially safe. !onnett's study also brings up the idea that perhaps classical music is not unpopular but it is $ust not popular# it could possibly be ambivalent for many people. !ocial exclusion# class dis, identification# cultural stereotypes# and even social desirability bias# the inclination of people to not like something because others may not find it favourable# could all play a role in this ambivalent attitude. (aybe if there was no stigma behind liking classical music it would be better received and accepted. hen it comes down to individual taste preferences it can be difficult to decipher what has really affected the choices. Boulangeon offers this# %The balance of primary and secondary sociali3ation influences may indeed vary from one cultural domain to another# according for instance to the relative influence of family# groups of peers and school. (ore generally# one >? Cohn !onnett# %mbivalence# &ndifference# Distinction9 Bomparative 7etfield nalysis of &mplicit (usical )oundaries#% !oetics 62-><9 =. >= !onnett# %mbivalence# &ndifference# Distinction#% /. >> !onnett# %mbivalence# &ndifference# Distinction#% -?.
should expect the process of taste formation to be more anchored in childhood in some domains than in other ones.%>A The primary sociali3ation influences would be family and close friends# and secondary influences being school# and peer groups. Davies' article on the differences of appreciation of rock music and classical music shows that some different people may have different priorities in what they wish to gain from their musical tastes. Davies' main argument is against )ruce )augh who believes that %classical works are appreciated primarily for their forms# and the focus of attention in this music falls more on the work than the performance. The performer is subservient to the score she follows. )y contrast# in rock music the performance is the ob$ect of attention and it is en$oyed and valued for its nonformal properties.%>; hile Davies argues that classical music does in fact have nonformal properties as well# this shows that the two genres definitely have different extents of these properties and of formal properties.>/ These almost two extremes of the same properties can show the difference as to why rock music has a more social function for entertainment than classical music. ith loud music and dancing permitted one does not feel obligated to be +uiet and sit still or even listen during a rock concert# while a classical concert re+uires almost all three# which can be difficult for a young# energetic audience unfamiliar with classical music. 4ow can a classical music concert become more like a rock concert* "erhaps not to the same degree but to at least include a more social function. Eolb decided to study one of the most successful and largest classical music festivals in the world# the "roms. (any features of the "roms trying to recapture this social function is by lowering ticket prices# and having changing
>A Boulangeon# %!ocial (obility#% AA. >; Davies# %5ock versus Blassical (usic#% -:?. >/ Davies# %5ock versus Blassical (usic#% -:=.
the arena to an open area where the audience can stand# sit or lie in a more informal way. They also allow audience members in the gallery to bring in food and drink before the concert and at intermission.>: fter some surveying# Eolb had found that >?0 of the general population weren't interested in attending or trying some form of performing art# but 2 20 who had not participated before had shown interest in participating.A Eolb's most interesting findings were the rankings of people's reasons for attending the "roms. ow ticket prices was the highest ranked reason for attending# the second was the informality and the +uality of performances. !ome of the lowest ranked reasons included %visiting people before an d after the concert%# %hearing specific performers#% and %finding the music challenging.%A- ith a %shrinking audience# and declining government subsidies for operational expenses%A2# classical music concerts may soon be forced to change their social function and the "roms has shown a successful way in doing so. hile classical music is seemingly losing its audience# there are many reasons to believe that perhaps its audience is more changing rather than declining. Blassical music would not be referred to as popular by many# but a few argue that it is $ust perhaps not in the financially successful way that pop music is. "arakilas compares the audience )eethoven has accumulated over two centuries to the more recent audiences pop music has accumulated over a much shorter time span.A? 4e brings up a different perspective or definition of popular# one that is more on recogni3able as opposed to financial# which is reasonable as many pop artists may be forgotten a >: Eolb# %Blassical (usic Boncerts can be Fun#% -/. A Eolb# %Blassical (usic Boncerts can be Fun#% -:,2. A- Eolb# %Blassical (usic Boncerts can be Fun#% 2. A2 Eolb# %Blassical (usic Boncerts can be Fun#% -A. A? "arakilas# %Blassical (usic as "opular (usic#% 2.
year after having a hit song# while )eethoven will be known for ages. "arakilas also brings up how classical# or %new%# music is used now as 'background' music.A= hile 'background' music# such as soundtracks for movies or video games# may be used for a commercial use at times# & believe it also has that social function that may be lacking in the 'masterpieces' in the concert hall. (any orchestras now play soundtracks with movies or even video games as live concerts# and it may be %valued for its geniality than for its genius% A> it is still being appreciated# at some level# musically. Fortunately# there is still interest in learning certain aspects of music. One very popular form is in singing# with a high public interest shown in large audiences for televised talent shows and >.20 of adults in a choir or chorale it represents over -> million people in the U! alone who are interested in singing.AA ith such a high interest in performance it's fair to say that those being trained and singing in choirs are being exposed an en$oying some form of classical music. n issue that & believe stems from this interest is the need and p rofessional interest of vocalists. There are many more opportunities to sing on )roadway than in an operatic production or classical singing# an issue that could have rose from social function.A; )roadway shows are much more a sociable situation than a classical concert again# but with this demand and opportunities in )roadway it's a scary thought to think classical music training could become
A= "arakilas# %Blassical (usic as "opular (usic#% -?. A> "arakilas# %Blassical (usic as "opular (usic#% ->. AADavid (eyer and (atthew Hdwards# %The Future of Bollegiate 1oice "edagogy9 !OT nalysis of Burrent "ractice and &mplications for the 7ext eneration#% Journal of Singing ;# no. = 6(arch 2-=<9 =?:. A;(eyer and Hdwards# %The Future of Bollegiate 1oice "edagogy#% ==-.
unpopular or unwanted itself. uckily# the functional cross training between the two genres can better prepare individuals and only make them better performers.A/ hile classical audiences still seem to diminish Dempster offers stats that classical music is not dying# but rather almost blossoming with spending on performing arts increasing -A0 between -::? and -::/.A: Dempster also looks at the stats that new media has brought to classical music# such as classical music being listened to on recorded media increased for every age group# adding that %classical music consumption is heavily influenced by electronic technologies and media.% This shows a shift in how the audience will listen to classical music# it will be %outside the concert hall#% through radio# BDs and even the internet.; Dempster believes that the classical music audience is not dying but rather changing the it listens. Bhange is what has to happen again to classical music. The social function has changed many times from entertainment# to status marker# or to having no social function. ith these changes came changes in social views of classical music from a social and en$oyable event to a misunderstood# academic# individual experience# to a characteristic attributed to a class. &n order to grow and thrive classical music needs to change its function# or at least try to. ith an ever shrinking high class and ever growing middle class# classical music is not fully accepted into the right one to survive. & also believe that certain ideals held by classical musicians themselves perhaps need to change# as !choenberg said %&f it is art# it is not for all# and if it is for all# it is not art#%;- but why can't classical music be art and belong to all* &n the -/s the audience for A/(eyer and Hdwards# %The Future of Bollegiate 1oice "edagogy#% ==2. A: Douglas Dempster# %ither the udience for Blassical (usic*% Harmony: Forum of the Sym"hony rchestra nstitute# no. -- 6October 2<9 =A. ; Dempster# %ither the udience#% =:. ;- )allantine# Music and its Social Meanings# :2.
classical music was large# why can't the works of )eethoven and )ach or any classical music be regarded as art but also for everyone. There will always need to be composer like !choenberg to progress music but there should always be a balance to make sure the social function of classical music is not lost# so it can be en$oyed and appreciated by everyone.
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