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Musical Offerings 14, no. 2 (2023): 53–66
ISSN 2330-8206 (print); ISSN 2167-3799 (online)
© 2023, Joanna Lauer, licensed under CC BY-NC-ND
(http://creativecommons.org/licenses/by-nc-nd/4.0/)
The Dilemma of Empty Halls
Joanna Lauer
Cedarville University
t all began when Thomas Edison invented the phonograph. People
flocked to the invention, which kept improving until it could finally
communicate the sound of music. Since that day, musicians have
recorded their music and reached countless hearts and minds with beauty
and art. Although great benefits emerged from recorded music, a major
problem arose: empty seats in the concert hall. Audiences for live
performances diminished and are still diminishing, partly because live
attendance is an inconvenient way to consume classical music and partly
because they do not know what they are missing.
1
To encourage concert
attendance, classical music must be tastefully marketed to present-day
audiences, through the experience of technically excellent, musical, and
interesting live performances.
To make this change effectively, the context of the culture and its
circumstances must be understood. Arts attendance in the United States
has declined, according to the National Endowment for the Arts 2012
participation survey. From 2002 to 2012, arts attendance in general
decreased from 39.4% of U.S. adults to 33.4%,
2
which means that in
2012, three out of ten U.S. adults visited an art museum or a type of
performing arts event once. For only ten years, a five percent drop is a
statistically significant number that casts a shadow on the future of live
classical music.
One problem is that classical music is often inaccessible and
unintelligible (meaning hard to enjoy and hard to understand
respectively) to the average person, which explains why concert
attendance and its cultural status has declined throughout the past one
hundred years. Creation of modern era music has pursued novelty to an
extreme end, a journey good for musical progress but problematic for
1
Asia, 484.
2
“How a Nation Engages with Art,” 12.
I
54 Lauer
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The Dilemma of Empty Halls
concert hall attendance. One example is from Milton Babbitt (1916-
2011), a professor of music and mathematics at Princeton University and
an avid proponent of creating art for art’s sake. In his article “Who Cares
If You Listen?” a defense of modern music against the protests of the
crowds, Babbitt says, “Why should a layman be other than bored and
puzzled by what he is unable to understand, music or anything else?”
3
The only way, he says, for composers of such music to survive is to live
as a university professor. Other composers of modern, experimental, and
postmodern music in the last century have shared this view, and indeed,
believed that if an audience enjoyed their piece on first hearing, their
piece was not good music. For instance, David Del Tredici, a classical
composer born in 1937, was forced to defend the initial success of his
piece Final Alice (premiered in 1976) against his colleagues, “For my
generation, it is considered vulgar to have an audience really, really like
a piece on a first hearing.”
4
Their music was created for art, novelty, and
progress, not necessarily an audience, which is why its creation gradually
emptied the concert halls. Other scholars, such as Dean Simonton, also
conclude that the inaccessibility or unintelligibility of modern classical
music is the primary reason for the decline
5
In art philosophy, a common and pervasive idea exists that classical
music and art is slowly dying. Simonton relates, “Martindale (2009)
asserts that serious art is doomed to die. Caught in a dialectic grinder
between novelty and intelligibility, the artistic tradition is inexorably
propelled toward unintelligible originality.”
6
This idea, he says, dates
back more than two thousand years ago to philosophers in the Roman
Empire in accordance with the idea of the decline of Western
Civilization. But novelty and intelligibility in composition must be
combined with thought for the audience. Thought for audience in
musical composition plays a part in keeping the concert halls full and
keeping the tradition of classical music alive and thriving.
It is interesting to observe that classical music and fine art used to be part
of popular conversation in the United States, but now its absence shows
the low status it has reached, particularly in popular American culture.
In the 1950s and 1960s, Daniel Asia recalls high art being part of the
general cultural conversation, heard on the radio, seen on television, and
3
Babbitt, 156.
4
Rockwell, n.p.
5
Simonton, “The Decline and Fall of Musical Art,” 210-213.
6
Simonton, “The Decline and Fall of Musical Art,” 209.
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read in Time, Life, and other popular magazines. Now, Asia says, “high
art is simply not part of the conversation, public or private.”
7
An icy gap
has grown between popular American culture and fine art; icy because
of the respective informal and formal atmosphere of each. Popular
American culture often views fine art as elitist, snobby, and stand-offish,
while fine art in turn often views popular American culture as
uneducated and crude, unable to appreciate the finer things of life. Thus,
the cold, distantly polite gap ensues between popular American culture
and fine art, creating a silence that prevents positive, symbiotic
relationships.
The difference in societal values between the generations is seen today:
the National Endowment for the Arts 2012 survey shows that there is
more participation from older audiences at classical concerts than
younger audiences. The relationship between age and attendance is
linear: as age increases so does attendance, as age decreases so does
overall attendance.
8
One explanation for the gray heads of the audience
could be that tastes in music mature with time, resulting in greater
appreciation for and enjoyment of classical music. Another could be that
the older generation lived in a society that valued classical music higher
than it does today. The act of listening to classical music requires greater
brain cell usage than the average popular entertainment. Classical
concerts require patient and attentive listening, something popular
American culture is not used to. Simon Peña-Fernández says that not
only Gen Z, but other generations are now eager to receive news
information and entertainment through TikTok, YouTube, Facebook,
and Instagram.
9
While providing a positive experience for the consumer,
social media platforms offer distractions with bright colors, short videos,
and engaging content. Such information, as well as ads on social media,
seek the consumer’s attention in a way that classical music does not. The
average American attending a classical concert requires patience and
mental activity, and due to the nature of popular entertainment, listening
to classical music and receiving such information can be boring for them.
Unless the future is prepared for and younger generations appealed to,
classical music risks losing its audience.
How then can classical music appeal to younger audiences? Through
tasteful marketing. Classical music can be especially packaged for and
7
Asia, 484.
8
“How a Nation Engages with Art,” 13.
9
Peña-Fernández, 2.
56 Lauer
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marketed to present-day audiences: those interested and not interested in
live, classical music. In business terms, tasteful marketing can be
effectively accomplished by marketing to targeted audiences. First, there
are two dimensions when considering classical music’s audience: age
and interest. The age of audiences considered in this paper are Gen X
(1965-1980), Millennials (1981-1996), and Gen Z (1997-2021).
10
For
each generation there is some, little, or no interest. To give an example
of what these interests could be classified as, “some interest” could mean
the audience is willing to pay for a live classical concert but lacks the
knowledge to find and buy a ticket to attend. “Little interest” could mean
that the audience is only willing to attend a live classical concert if
invited and paid for by a friend. “No interest” could mean that the
audience has not thought about attending a classical concert. To draw
each of these audiences into the concert hall, a targeted marketing plan
would need to be developed with parallel categories that define and rate
the audience’s interest, to address their specific needs. But that is not the
purpose of this paper. The purpose of this paper is to persuade the reader
of the problem and present a solution, not to detail all the specifics of
that solution.
Multiple factors affect marketing decisions, such as considering the
alternative entertainment provided to the average American. Between
2002 and 2012, the decline of classical concert attendance is especially
seen in Gen X, but not greatly in Millennials and Gen Z. Although
overall arts attendance rates remained relatively steady between 2008
and 2012, a significant drop in classical concert attendance occurred in
adults aged 35-54, dating these individuals’ birthdates as 1958-1977—
roughly the same as Gen X.
11
Ironically, movie attendance for the same
age group increased by 8% in the same four years, but the correlation
between these two statistics cannot be proven.
12
At any rate, knowing
and understanding shifts between demographic audiences helps inform
marketing decisions.
One of the most important elements in marketing classical music is
education, for education provides the consumer with the context and
information to enjoy and appreciate classical music, and enjoyment of
classical music will lead to increased live concert attendance, the goal of
marketing. The NEA 2012 survey records that 19% of U.S. adults at
10
Dimock, n.p.
11
“How a Nation Engages with Art,” 13.
12
“How a Nation Engages with Art,” 23.
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some point in their life engaged in learning about music appreciation,
13
while 14% took an actual class on music appreciation.
14
While 14% is
not an insignificant number, it still leaves 86% of the U.S. population
without specific knowledge on how to listen to and enjoy classical
performances. The best remedy to this lack of knowledge is education:
lighting the candle of curiosity in a fellow human by telling them about
a subject and how it fits in the world of their existence, leaving them
eager to explore it on their own. Sometimes that may be more and
sometimes less. As William Butler Yeats says, "Education is not the
filling of a pail, but the lighting of a fire.” Additional support comes
from Babbitt when speaking of his serial music:
Although in many fundamental respects this music is
“new,” it often also represents a vast extension of the
methods of other musics, derived from a considered and
extensive knowledge of their dynamic principles…
Compositions so rooted necessarily ask comparable
knowledge and experience from the listener.
15
On a less extreme but parallel scale, audiences would benefit from
learning relevant information about the music they are listening to in
order to increase their enjoyment.
The education of present-day audiences can and must be supplemented
by various methods inside and outside the concert hall. Outside the
concert hall, friends who follow the old proverb “honesty is the best
policy” may also propel casual or disinterested listeners along the road
from boredom to enjoyment by honestly preparing them for their
experience. Many new audiences may be startled by realizing that
classical music is quite different than the popular music that they are
used to hearing and may not enjoy their experience. The consumer
segmentation study uncovers that up to 40% of the audience may have
never entered a concert hall before:
A serious examination of the large base of potential
classical consumers reveals that for many, if not most, a
relationship with the orchestra is contingent on an
external social stimulus — an invitation. Across the 15
markets, 16 percent of potential classical consumers
13
“How a Nation Engages with Art,” 41.
14
“How a Nation Engages with Art,” 39.
15
Babbitt, 155-156.
58 Lauer
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self-identify as “Initiators” — people who instinctively
organize cultural outings for their friends, but 52 percent
identify themselves as “Responders” — people who are
much more likely to attend cultural outings if someone
else invites them. … On average, 40 percent of those
who’ve ever attended a concert by their local orchestra
did not (and have never) purchased a ticket.
16
A distinct educational opportunity opens to the 40% of classical concert
attenders invited by friends. If a first-time concert attender is told that
classical music, like any other worthwhile occupation, will take time to
learn and enjoy, they will be prepared for the experience and not turned
away if, at first, it is boring to them. This can be communicated by
regular concert attenders who bring guests with them. To be made aware
of the problem before the problem is encountered strengthens an
audience’s belief in the solution given by the same source, and
encourages them in their journey of learning how to listen to and enjoy
classical music.
Additional ways of promoting the education of classical music outside
the concert hall could be personal ways, formal ways, or both. Personal
ways could include word of mouth and sharing personal interest with the
people in one’s sphere of influence. More formal ways include
organizing community ensembles, presentations at schools, festivals, art
centers and museums. An idea that implements both personal and formal
is to create a YouTube channel with interesting music videos of classical
performances that detail the context and interesting facts about the piece
in the description box.
In order to tastefully market classical music to modern audiences, the
target audience must be considered, their specific challenges understood,
then appropriately addressed. Enjoyable educational opportunities must
be provided by those bringing guests to classical concerts to prepare
those guests for the music they will hear, as well as by other personal or
formal ways. The next step in marketing is to keep the audience coming
back to the concert hall, and one method is through engaging program
notes.
Engaging program notes are an excellent way to connect an audience
with the heart and reason behind the music, whether from the composer
16
“Classical Music Consumer Segmentation Study,” 10.
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directly or from another mediator. According to Diana Blom and her
fellow authors, “The program note is a collaborative tool between
program note writer/composer and the listener, sharing larger artistic
issues and enabling additional insights.”
She describes the program note
as exhibiting the relationship between performer and program note
writer, the composer and listener. This “generates dialogue between
performer, listener and composer, communicates the composer’s
intention through the performer to the listener, and encourages the
listener to empathize with the composer’s intentions.” Blom concludes
that this process could help the audience as they explore, interpret, and
enjoy music, positioning listeners as active participants in the creative
process.
17
There is no one way to write program notes, and different
pieces require different categories of content. However, program notes
that educate and assist readers’ understanding of the music, in whatever
fashion, are valuable. A consumer segmentation study of classical music
shows statistics of how effective this opportunity could be:
Overall, just 10 percent of potential classical consumers
think of themselves as “critical listeners” (self-defined),
while 78 percent consider themselves “casual listeners”
and 11 percent say that they are “uninterested listeners.”
Thus, the vast majority of potential customers for
orchestras are casually involved with the art form.
18
Therefore, if almost 90% of classical audiences are casually involved,
there is ample opportunity for education and elaboration of their
experience leading them to greater interest in, enjoyment of, and
appreciation for classical music.
Engaging and relevant program notes must connect the audience with the
context of a piece, whether it be the composer’s intentions or creation
process, or another consumer’s interpretation of and love for the piece.
This creates interest in the mind of a consumer. Creating interest in and
cultivating enjoyment of classical music both inside and outside the
concert hall is the goal of marketing; a method which will reap long-term
and lasting benefits for the industry, art, and tradition of classical music.
While interest in classical music is being stirred, the internet presents an
obstacle. The internet offers countless free recordings and videos of
nearly every classical piece of music written, and has become the most
17
Blom, et al., n.p.
18
“Classical Music Consumer Segmentation Study,” 8.
60 Lauer
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convenient way to consume classical music. Why would someone pay
for a more inconvenient way to consume classical music—attending a
live performance? In 2017, 21% of Americans used electronic media to
consume classical music specifically,
19
compared to 42% who attended
live music performances of all kinds.
20
This statistic could be interpreted
at least two ways, one being that half or more Americans who attend live
classical music performances also listen via the internet, the other that
the percentage of Americans who attend live classical music
performances could be raised by a maximum of 21% (totaling 63%),
assuming they all do not currently attend live performances. In other
words, there is potential to persuade 21% of Americans who consume
classical music via the internet, to attend live performances. Regardless
of which interpretation best fits, recorded classical music has shaped the
culture of classical music consumption, and plays an important
contextual role for understanding the twenty-first century audience. The
answer to the problem of consumption of classical music via recording,
is to sell the experience of attending a live, classical performance.
To fully understand the experience of a live performance of classical
music, the technique and musicality of the musician must be considered.
Technicality is a set of fine motor skills musicians develop to acutely
control the notes they play. When practiced intentionally for hours, good
technique offers the performer the control and confidence needed to
overcome performance anxiety and nerves, resulting in an excellent
performance. In addition, good technique provides a solid platform from
which musicality can bring music to life. Especially in modern music,
technique can affect the interpretation of the music itself. Babbitt, when
speaking of his new and efficient language of serial music, says, “This
increase in efficiency necessarily reduces the ‘redundancy’ of the
language, and as a result the intelligible communication of the work
demands increased accuracy from the transmitter (the performer) and
activity from the receiver (the listener).”
21
Composers of serial music
would therefore stress the importance of exact accuracy to their
performers in order to communicate the music correctly. While
technique is an extremely important aspect of good performances,
musicality is equally, if not more, important.
19
“U.S. Patterns of Arts Participation: A Full Report from the 2017 Survey of
Public Participation in the Arts,” 57.
20
“U.S. Patterns of Arts Participation: A Full Report from the 2017 Survey of
Public Participation in the Arts,” 20.
21
Babbitt, 154-155.
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Musicality can be defined as the interpretation of music by the performer
who communicates human emotions through the practice of music.
Musicality is congruent with personality and thoughts of the performer
who interprets the piece. Often, if a piece is performed with technical
brilliance but little to no musicality, it fails to capture the attention and
move the listener. Music students today have the potential to achieve
dazzling heights of technicality but often fail or forget in the process to
communicate the treasure the music holds. There is a lack of musical
interpretation; living and internalizing the music is becoming secondary
to technique. Asia says that technique is greatly superior today than ever
before, but the “heart, and thus empathy, is missing in both the performer
and the listener, and thus the true nature of the musical experience
matters much less.”
22
To counteract the technical focus mindset,
performers must remember that technique is the solid platform from
which musicality can bring music to life. Both are essential, but without
musicality performances will sound flat and dull. Electric
communication and experience of emotion occur through the hand in
hand effort of musicality and technicality. Musical, live performances
are experiences people return to because of what the performances offer
and the performers themselves who offer it.
This “true nature of the musical experience,” this receiving
communication of emotions through music, decreases when transformed
into a recording. Recordings of music have disseminated music farther
than Thomas Edison ever could have imagined. But recording and
distribution come with consequences, making music more accessible but
less special. The ability to record music may also have lent itself to
focusing on technicality versus musicality, due to the microphones’
sensitivity to slight technical mistakes, and the absence of adrenaline that
comes with a live audience. For the performer or the audience,
recording/recorded music cannot measure up to experiencing a live
performance. Mastery of technique is a solid platform from which to
transmit the essence of music to an audience, enabling them to
experience it fully, without distraction. The combination of technique
and musicality, when balanced well, makes music interesting, along with
insightful, contextual, and relevant program notes. This full, live
experience must be capitalized when marketing to a potential audience,
for when done well, a live performance communicates a treasure that
cannot be fully realized in a recording.
22
Asia, 483.
62 Lauer
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The Dilemma of Empty Halls
Fortunately, there are many people, organizations, and professional
orchestras today who accomplish this marketing goal. In Cleveland,
Ohio, the Cleveland Orchestra offers a wonderful introduction to
orchestral music through a series of outdoor concerts in the annual
Blossom Music Festival, including everything from classical staples to
movie soundtracks. Another example is the conductor Gustavo
Dudamel, with his endless energy and enthusiasm for promoting the
tradition of classical music. He created the Dudamel Foundation in 2012
to “expand access to music and the arts for young people by providing
tools and opportunities to shape their creative futures,”
23
which by
raising up young musicians he invests in the future. On the other hand,
John Mackey, composer of Wine Dark Sea for symphonic band, takes
much time and thought to develop his music, whether composing on
commission or otherwise. A glimpse of his composing philosophy
reveals:
If you’re an architect and you are going to make a
building, you don’t start by picking out a really cool
lamp. What you do is you ask, ‘What’s the purpose of
this building? How big does it need to be? What’s it
made of?’ and then you make the building. The last
thing you do is pick out the furniture. The notes are the
furniture.
24
In planning his compositions, Mackey considers the purpose of his
music, the greater picture, and his audience. Jennifer Higdon is another
good example, who, by composing her blue cathedral, wrote a piece that
both commemorates the death of her brother and provides a beautiful
image for her audience to ponder. Men and women like these encourage
audiences not to consume recorded music only, but to attend live
performances and experience the artform in its original intent, to its
original extent.
Del Tredici said, “But why are we writing music except to move people
and to be expressive? To have what has moved us move somebody
else?”
25
In all its forms, art is a conversation, and if no audience or
receiver exists, then the purpose of art vanishes. The ultra-modern
stigma of “art for art’s sake” and “who cares if you listen?” rejects art as
a conversation between composer and consumer and discourages
23
Dudamel, n.p.
24
Lyons, n.p.
25
Rockwell, n.p.
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relationships between not only the composer and consumer but the
composer/composer and the consumer/consumer. No art form can thrive
under such living conditions. Therefore, music must be tastefully
marketed to present-day audiences through the experience of technically
excellent, musical, and interesting live performances.
Obviously, classical music will not be gone tomorrow, for orchestras are
still hiring, music colleges and conservatories are still occupied, and
children are still learning musical instruments. However, unless steps
are taken by this generation to preserve the beautiful experience of live
classical performances, it will, like everything else, fade and die. Del
Tredici believed that if an audience can understand and enjoy one facet
of classical music, they develop a rounder perspective and learn to enjoy
other facets of classical music as well: “Right now, audiences just reject
contemporary music. But if they start to like one thing, then they begin
to have perspective. That will make a difference; it always has in the
past. The sleeping giant is the audience.”
26
Instill the enthusiasm, and
wake the giant.
26
Rockwell, n.p.
64 Lauer
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The Dilemma of Empty Halls
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