Music That Resists An Audience

Since my previous post, reflecting on a simple reason why audiences are so small for new music concerts, I’ve had a wave of comment come my way, either directly on the blog (you can read for yourself) or via twitter or rebloggings or facebook sharings, even emails sent directly to me. It was fascinating to see the kaleidoscope of angles taken when referring to the piece. To some it was a piece about the fragmentation of audiences in the 21st century; to others it was about what a venue/artist partnership looks like; to others it was a checklist of great ideas for audience building. And the post has been shared by visual artists, choreographers, jazz musicians and pop producers. Amongst the positive responses are lines like “I’d kiss you. But then people would talk.” (thanks Rebekah!) and “Well written punchy piece by @ElissaMilne delivers knockout blow to new music narcissism then picks it up off the mat.” (thanks Séan). And “What she said”,

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A Simple Reason Why Audiences Are So Small For New Music Concerts

Discussions about the small audiences new music attracts have been a constant of my life as a musician since I first entered university as a 16 year old to study composition. I have to confess I’m getting a bit sick of the topic, mostly because there’s no mystery to these matters whatsoever, and the whole ‘debate’ ends up in the field of deliberate self-delusion almost as soon as it begins. Last night someone said to me that audiences are small for ‘this kind of thing’ because, and I quote, “Australia is so backward”. Something in my head finally broke after all the years, and I found myself struggling to hold back the waves of derision engulfing me. I may not have won that struggle. I’m not going to waste my breath explaining the multitude of ways in which Australia fails to demonstrate backwardness. And before I don’t do that I’m not going to waste my time deconstructing the idea of

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Bach v Handel v Scarlatti v Telemann (and so on)

My most advanced student and I sat down the other day to decide exactly which works would go into his diploma program (exam in November/December) and which would get the flick. My student had been working on the Bach C minor Partita, but as much as we both loved the Capriccio we were struggling with the notion of turning the other required movements into part of his performance program. It all just seemed so turgid, with a displeasing noise to signal ratio. Could we get away with dispensing with this major work from his program? How would the balance of the recital be affected by taking this out of the equation? We pulled out the syllabus and thought about replacing this selection with a Prelude and Fugue. And we had no trouble identifying some Preludes on the list that would show off this student’s strengths and sensitivities to best advantage. It’s just that when we came to think about him

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The Making of Lists: An Alternative 100

This is a post about lists, and it’s going to get specific about making lists about music. If you are not of the High Fidelity school of music discourse this post may irritate. Discontinue use if irritation persists. Lists reflect those who make them, but they also reflect the list-making process. A To-Do list might be broken down into things to do before lunchtime, things to do before the weekend and things to do before Christmas, as a way of managing different priorities. A shopping list might be organised according to retail establishments, or even by way of supermarket aisles. Even books list contents by chapter, by title, alphabetically or by author name. There are all kinds of ways of organising the lists we make. A radio station I rarely listen to recently compiled a list, as voted by its listeners (and me), of the 20th century pieces of classical music most cherished by its listeners (and me). The enthusiasm

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Top Classical 20th Century Pieces: ABC Classic FM Edition

Fabulous concept, fabulous consequences: you’re a radio station that broadcasts classical music exclusively and you ask your listeners to vote on their absolute favourite classical pieces from the 20th century. Each listener gets 10 votes and they can nominate whichever piece of music they fancy. The top 100 pieces are then broadcast over the space of a week, concluding with a concert featuring the top 5 pieces, live-broadcast to conclude the event. And since it’s 2011, the whole broadcast event comes replete with facebook discussions and a twitter hashtag. Go. The countdown began at number 100, naturally, and John Adam’s The Chairman Dances from Nixon in China seemed about right. But over the course of the next 10 or so entries things began to unravel. Schmaltzy and ersatz contributions were mixing it with works commonly regarded as masterworks, and straight-out film scores even got a look-in. We all knew this was a popularity contest, but even so it felt as if voters

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