The Classical Convergence

Waking up from summer vacation…

Remember the car ad from a few years back? Special “Bob” lane on the highway and at the tolls, even a “No Parking – Except for Bob” sign. And the kicker – when “Bob” finally gets pulled over, the cop merely removes his sunglasses and says “Oh, it’s you Bob.” and lets our driver go.

There is a tale, perhaps apocryphal, that the “Bob” commercial was inspired by the legendary driving antics of Herbert von Karajan, who indeed had his own personal rules of the road (not to mention custom-built cars direct from the Porsche factory) during his salad days in Berlin. Of course, it meshed perfectly with von Karajan’s brilliantly-burnished reputation as the supremely talented, driven, impervious, willful, and accomplished Maestro to end all Maestros. Exceptional in all ways; a god among mortals. Now, fast-forward to 2007. Sir Simon Rattle, no slouch with the baton, is the kinder, gentler, face of the Berlin Philharmonic. But I doubt he has a “Singularly Simon” lane on the Autobahn. More to the point, the “Bob” ad comes to mind when I consider the changes – some would say crisis – wreaking havoc in the classical music world of today. It’s Topic A among any manager, agent, musician, administrator, (or even us hardy media producers) even remotely connected to the art form.

Earlier this summer the subject got a thorough going-over at with a “group blog” called Engaging Art: A Public Conversation, timed to coincide with the American Symphony Orchestral League (before they changed their name!) conference in Nashville, not to mention a new book called Engaging Art: The Next Great Transformation of America’s Cultural Life, edited by Steven Tepper and former NEA chief Bill Ivey.

As a public conversation, it’s pretty impressive stuff, with contributions from some of the industry’s heaviest hitters and deepest thinkers, offering opinions that range from brutally pessimistic to cautiously optimistic. It’s worth your time (and yes, it’ll TAKE time!) to read it all.

So what’s the verdict, and what does it have to with “Bob?” Reading through the anguish and the gallows humor, what emerges is that Age of Exceptionalism for classical music is over. The World (of music) Is Flat. Or, as the ever-salient Greg Sandow puts it, “..the arts don’t just represent art any more, since so much terrific art happens outside their boundaries. That makes the arts (as opposed to art) seem increasingly stale.”

Bingo! No more special lanes. No more customized parking spots….no more classical-music-only critics in Your Hometown Daily News for the 3 – 6 per cent of the population that attends classical music concerts. In the democratized world of iTunes, Bach, Beethoven, and Brahms need to compete with Beyonce, Bjork and the Notorious B.I.G..

Classical music is, in short, entering what Henry Jenkins of the MIT Media Lab describes as today’s “convergence culture:”” a new territory where old and new media intersect, where grassroots and corporate media collide, where the power of the media producer and power of the consumer interact in unpredictable ways.”

And that’s not necessarily a bad thing; it is, however, merely a game-changing, life-threatening disruption to the status quo. And while we’ve had our gaze upwards, watching what the ground tremors are doing to the mighty redwoods in
the forest, we haven’t looked closer to the ground, where there’s a riot of vitality, energy, and colorful new growth.

*Classical music accounts for 1-3% of sales in “traditional” stores: it’s 11% on iTunes.

*Just as an outsider – Apple & iTunes – re-shaped the recorded-music industry, MySpace (whose origins are far removed from the world of IMG and Columbia Artists) now has 3 million artist pages.

*The top “beach-listening podcasts” for the summer of 2007? Pat Conroy or Sue Grafton? Nuh-uh. Try “Pride and Prejudice” and a series called “The Classic Tales Podcast,” featuring works by Edgar Allen Poe, Arthur Conan Doyle and Thomas Hardy, on iTunes’s top 100 podcasts list. Who says intense listening to long-form artistic creations is dead?

*How about those 500-plus classical-music groups on Facebook?

*The record industry’s woes are well-documented, but what about the publishing industry? Last year ASCAP reported record revenues – and record royalty payments to its members, who divided up $680 million – a hefty 5 per cent increase.

*Finally, this vital statistic from the National Association of Music Manufacturers, who also reported record sales last year of musical gear, to the tune (sorry, couldn’t resist!) of $7.5 billion. The reason? According to their Harris-commissioned research, in 1997 about one in four Americans (24%) between the ages of 18-34 owned or played a musical instrument. In 2007, that number is now almost one in three – 32 percent!

What’s going on here? To be sure, this isn’t all due to the fact that kids putting down their Playstations and trudging over to the piano bench to learn Czerny etudes. But it does suggest that our commonly-taught and understood about the value, order, rank, and hierarchy of music – and music education – is being stood on its head. Henry Juszkiewicz, co-owner of Gibson Guitars, told the LA Times: “We are looking at the first creative generation,” “The cost of creative tools has gone down. And now you have the ability to share with other people your creation. These two fundamental, solid changes are allowing the younger generation to be actively creative .”

It could be argued, in fact that we are entering a new “Golden Age” of unprecedented access, discovery, and creation of music. Virtually the entire history of musical composition is only a few keystrokes away from the average American.

The dizzying pace of technological innovation has made the production and distribution of music similarly ubiquitous. “Mass Media” no longer means just mass consumption of content; it now represents mass creation.

So what about classical music, bent on teaching, preserving and showcasing starkly individual, timeless, and lofty musical ambitions? Will we be subjected to “Missa Solemnis Mashups?” That’s a scary thought to many. But we also have the potential now to perform a world-wide “Messiah meetup.” As it is today, people already line up around the block to do “Messiah sing-alongs.” Can you imagine staging a December event with Handel’s oratorio, arguably the most beloved (and certainly the most translated) work of Western music, using technology tools to make it truly a global mass-participation event? I can see the headlines now: “Handel Works Server Havoc: ‘Messiah’ Sing Meltdown.”

(Hey, I can dream, can’t I?)

But this is not to minimize, or trivialize, the challenge before the classical-music community. Once the “special lanes” are removed (and we are surely witnessing that on the fundraising level as well), the symphony orchestra, in the form as we know it today, may not survive my generation. In other words, Beethoven will still be around, but the context in how we hear, perform, and present Beethoven will be fundamentally altered in ways that we are just just beginning to glimpse. Strap in and hang on, because it’s going to be an exciting (and terrifying!) ride.

Lots more to say on this subject (the whole blog, really) but more about what’s popping up in the classical underbrush in coming days and weeks…

The Experience Economy (Engaging Art, Pt II)

Note to self: Spare the prose and save the reader.

Have to confess that after reading ALL of the various posts and comments in Doug McLennan’s “gangblog” called Engaging Art: A Public Conversation, my first takeaway is sheer exhaustion – we got some lonnnng posts, ripostes, and rants going on here! On Sunday Editor Doug McLennan attempted a rather breezy summary (links are mine; prose is Doug’s):

Robert (Levine) says he tends to think things stay the same. Greg (Sandow) suspects (okay, more than that) that fundamental change is afoot and that the traditional arts as we have known them in the recent past are finished. Moy (Eng) is energized by the possibilities of change, and Ed (Cambron) thinks the museum model for symphony orchestras might be the best. William Osborne seems to think that lack of public funding is at the root of all that ails us in America. And Molly (Sheridan)? She seems amused by all the hand-wringing. (have I managed to mangle and mischaracterize everyone’s positions?)

Steve Tepper, (from the Curb Center for Art, Enterprise & Public Policy, and one of the honchos behind the whole exercise), on the other hand, came back with an even more reductive summary:

Many of the postings and reactions to the book vacillate between “technological determinism” and “technological realism.” The first group imagines that our patterns of engagement will change dramatically because of the introduction of new technology, alerting us to a number of possible scenarios: death to experts and professionals; rampant choice and diversity; hyper-active and interactive audiences who dictate every detail of their experiences; constant mediation through screens and electronic devices; etc. The others tend to believe that there is nothing truly “new” about “new technology” and that it is simply returning us to habits and modes of engagement that were popular in earlier times. Others simply see technology as a useful tool, but not as transformative of social and cultural life.

Regardless if you are a determinist or a realist, I think it’s worth noting the rest of Doug McLennan’s commentary:

It’s interesting to me that everyone who creates anything these days is having some version of this conversation. Certainly anyone in the arts. But also Disney and CBS and Universal. And Starbucks and the Los Angeles Times and BMW and Coke. We’ve moved from being a service economy to an experience economy. Service is now assumed. The question is what’s the experience going to be.

Some of these entertainment companies (and even car companies now think of themselves as entertainment companies) have been losing audience at rates the arts would find catastrophic. Top-rated TV shows, radio stations, recording companies and newspapers are seeing their audiences down by 30-40-50 percent from what they were when the 90s began. By comparison, the 90s were the biggest expansion of the arts economy in American history. Even the softening of arts audience numbers since 9/11 is nothing compared to some of the retreats in the commercial sector.

The changes in audience behavior we’ve been talking about here are all things that commercial “content” makers are also addressing. I’m not sure they have any better answers than we do yet.

From my travels around the county I think he’s (mostly) right: these conversations are suddenly taking place, and not just in the creative arts. And everyone’s groping and guessing for clues, let alone answers. I say “mostly,” however, because there are still a few world-is-flat types who are putting their hands over their ears, intoning, “I cannn’t HEARRRRR YOU!” And too many of them are working in the music business. Oh, wait, I forgot: The world IS flat again….

We Can’t Rewind, We’ve Gone Too Far

Yes, there have been a lot of silent days at the RoeDeo lately, but not for lack of anything to say; been busy lately in some computer-less pursuits, such as constructing the new World Wide HQ. Lots to post about, but to Break The Silence, let me point you to a fascinating conversation going on over at called Engaging Art: A Public Conversation, timed to coincide with the upcoming American Symphony Orchestral League conference in Nashville, and with a new book called Engaging Art: The Next Great Transformation of America’s Cultural Life. Some deep thinkers involved in the group blog, including some names found in the blogroll to your left, as well as some utterly fresh and frothy (to me anyway) personalities. Like Vanessa Bertozzi, who in her first post taught us about Steampunk. And the Hewlett Foundation’s Moy Eng. And Molly Sheridan of NewMusicBox and, who writes (in part) in a provocative post called What if Video Saved The Radio Star?:

I‘ve been wondering if we’re getting carried away by this “broadband is changing everything” supposition. I’m under 30. Too old for Facebook, perhaps, but young enough to have made my only career out of online content delivery. Yet I still buy tickets to real plays, museums, and concerts, even if I make the purchase online because I followed a link from flavorpill.

If the little sphere I walk around in indicates anything, the technology isn’t dictating a drastic overhaul in what artists want to create or cultural consumers want to experience at the base level–no fundamental truths about the human condition have been nullified by the clips posted on YouTube. (Yet, anyway.) What current circumstances are forcing is a massive overhaul in access. Right now, you can go back and experience that video whenever you want, whether or not MTV ever broadcasts it again. You can adapt it. You can see what they’re doing to it in Japan.

In the chaos this explosion is currently creating, the traditional institutions that will step to the fore are the ones willing to truly learn the language and concentrate on how they can grow and position themselves to lead the pack. Because yes, after years of massive domineering corporate control, maybe we’re a little punch-drunk on the power that we’ve gained to create and promote the art we love, regardless of the $$ potential.

Creative culture is more a part of the everyday lives of Americans because they are being encouraged to create. Isn’t this what we wanted? But so far it still takes a name like Will Ferrell to make it profitable online. No matter how great access to 6 billion options sounds, we’re paradoxically on a hunt for the cream and access has made us very tough critics. This is where our established institutions can take their street cred and step into the fray.

Besides being a bang-on observation, Molly’s post (since I followed all the links) pulled up from within the deep recesses of the RoeDeo brain the original pre-MTV version of that song, which got a lot of college-station and alt-rock airplay Back In The Day…by the now-long-forgotten Bruce Wooley and the Camera Club.

Haven’t heard the original in decades, (Thomas Dolby, interestingly, played keyboards in the band) but as I recall it was a lot more earnest, better sung, and a lot less gimicky than the subsequent Buggles version (a/k/a On a more substantive basis, more on the Engaging Art thread as it develops…