Who cares about live music?

"Tell Someone Who Cares"Time for a rant/ rave/ vent, methinks. It’s been a while. Bear with me:

Who cares about live music?

Everywhere I look there are stories of musicians being yelled off their stage, performers crying for “decent” pay, orchestras and opera houses closing down, music schools diminishing beyond recognition, and a host of other music-related news that simply doesn’t play a pretty tune.

So, who actually still cares about music?

  • Musicians do (instrumentalists, singers, composers, conductors).
  • Politicians will if it makes them popular.
  • Some film producers and directors do.
  • Music writers and administrators do.
  • Music teachers and professors do.
  • Some corporate executives hoping to make their company look good by supporting local musical establishments might.

Who else?

  • And don’t tell me dancers do – if they did we’d still have live musicians at every performance.
  • And don’t tell me most audiences do – if they did they’d willingly pay the costs of every concert.
  • And don’t tell me clergy do – if they did they wouldn’t be promoting celebrities who sing to pre-recorded tracks.

But despite the seemingly exhaustive list of supporters, first: look how many people who experienced music directly in their lives are those who remain passionate about it, and second: I can’t help but feel an underlying podium of obligation and hidden-agenda persuasion.

The fact is, in 2013 there are very few people who care about one of humankind’s most fundamental forms of expression. “Music” has been around for as long as birds could whistle and people could control the pitch of their voices. For centuries it was just a part of everyday life for just about everyone.

16th Century Gregorian Chant Song Book

This 16thC songbook in Seville Cathedral contains many chants “composed” over hundreds of years

Then, about 500+ years ago, someone figured out a way to write it down so others could repeat what was being expressed. (Actually, music was used in the church to aid priests with their memorization of liturgical text – a trick that is still used today.) I’ve seen one of the earliest songbooks known to exist, currently housed in Seville cathedral, and when people stop to consider what it represents, it is an awesome thing. But, like so many museum pieces, most people just wander by and say ¡Qué Bueno! (“That’s nice.”) You can hear the apathy in their tone.

Since then, there’s been a direct split between formal music and popular music. Even these words seem insufficient to describe the horrors of classifying and labeling just about each individual’s specific tastes, desires, likes and academic output of organized sound-based expression.

But what really scares me are these two facts:

1. Older generations are telling younger generations that music is unworthy, not to be valued, and an interrupting annoyance. Instead, we are taught by decision-makers and influencers that it is a gimmick, a sometimes useful but very expensive tool of persuasion, and wholly unessential or unnecessary for anyone’s well-being. Example: “Our youth groups don’t want to see an orchestra on stage – that’s not our vision for them.” Example: “Oh! That youth orchestra is just way too loud whilst we’re shopping. C’mon, let’s leave.” Example: This whole flashmob was commercially staged, including the little girl at the beginning – the bank the performers were in front of was celebrating its 130th birthday.

2. Musicians are out to prove their relevance/ worth/ value, demand certain rights, and are using Music as a political means to get what they want (be that income, satisfaction, their own worth/ value, proof that they matter or haven’t wasted their lives pursuing something pointless, etc.).

Ouch.

And I’m fed up with it.

In today’s technological digitized world, is there even a future for music? At all? We have created machines that compose and conduct, and devices that source every piece of music that has ever been recorded or constructed as an audio file. [And that’s a whole other rant – are we listening to the performers, or the sound system? More on that another time.] Music provides some sort of background sensory stimulation in almost every activity many Western humans undertake, including shopping, using public toilets, driving, office work, jogging, and so on.

The recent spike in popularity of orchestras playing music whilst a film is displayed above them is an extension of the old piano-playing cinemas of… wait for it… not even a hundred years ago. In Beethoven’s time it was rare for concert halls to have seats. People mingled, chatted, ate & drank, and had a good old time hanging out. In Mozart’s time, operas told stories of faraway places and unknown cultures with drama and costumes and scenery and, of course, dramatic music.

Mention opera nowadays and most people yawn.

What’s happened? What’s going on? Where are humans headed next? Hardly the dearly desired World Peace, that’s for sure! And I fear the loss of music and the senses that rely on it for their useful/ proper/ full development, will transform humans into unthinking creatures of survival habit.

And yet we’ve come so far…

What do you think? Add a comment below and let’s talk about it…

Maybe it’s just in specific cultures. Maybe this is all totally imagined. Regardless, I’m upset so many humans around us are dismissing live music making, and I’m getting angry enough to do something about it in my little circle of influence. More about that soon!

 

Seeking Leadership Stories

leadership01As a Conductor I am often held responsible not just for the instant moment-by-moment success of live music-making, but also the entire image, direction and resourcefulness of the whole organization. Every action and decision a leader makes directly influences outcomes and sales. (Click it to tweet it!)

As you know, that basically sums up the outcome of every leader’s work.

Leadership studies

So over the years I have studied and explored a great many leadership and management concepts and skills, including those espoused by Tom Peters, Michael Hyatt, Marie Forleo, Dave Ramsey, Richard Branson, John C. Maxwell, Michael E. Gerber, J. W. Marriott Jr., Charles Forte, Earl Nightingale, and a WHOLE host more (usually through biographies). In addition, since my teen years I have closely watched other leaders at work – conductors, business owners and corporate management – to learn what works well as well as what doesn’t seem to work well.

It’s been a fascinating journey. However, one thing I’ve noticed is how much Conducting orchestras, choirs and musicals not only incorporates almost every leadership skill out there, but very clearly and succinctly brings them altogether in one easily-observable package.

Really?

Yes, really.

So I’ve summarized what I’ve learnt, observed and tested (meaning: tried out in live environments) and written them down from a conductor’s point of view in a cute little book. I think you’ll find it interesting. However, I’d like to marry these leadership concepts to non-musical examples that many others can identify with.

What’s your story?

Do you have a leadership story to share?

Do you have a leadership story to share?

If you are or have been a leader in any industry in any organization, I’d love to hear from you: Corporations, Small-Business, Community Groups, Governments, Sports, Church, School, Fundraising events, or wherever you have been responsible for leading others to achieve a mutual goal.

Check out the seven scenarios listed and if you have a story to share for any of them, add it to the comments (remember to log in FIRST, before writing your story!)

Thanks for your time and willingness to share your expertise and experiences. If you have any questions, please do send me an email

  1. You give the ‘Go!’ A launch, pep talk or somehow getting your team off to a great start

  2. You take note of how things are progressing and offer a little encouragement here, a little adjustment there…

  3. You can’t help but smile at what your team is accomplishing! You show your team how pleased you are with their efforts.

  4. Was there a time you or your boss didn’t trust the team to start on their own? Did you have to control how they began? Did such behavior prevent the most effective launch possible? How have you been a different leader since then?

  5. Was there a time you or your boss didn’t trust the team to do their work? Did you control every move they made? Did such behavior demotivate people? How have you been a different leader since then?

  6. Was there a time you or your boss were completely hands off and didn’t really know what the team were doing? Did such behavior prevent progress and/or quality outcomes? How have you been a different leader since then?

  7. Did you ever actively encourage your team to grow and become better than you (at what they do)? Did your team benefit from expanded skills, new approaches and advanced learning? How did that affect the team’s productivity?

THANK YOU 🙂

 (Log in below to add your story)

Why the next 20 years of classical music will smash the last 20

OPINION. That’s all this is. Totally unmerited, unfounded, unresearched, unverified 🙂

I’m in the UK right now, where I spent my childhood and early professional career. My teens and current professional career were/are in the USA. My college life was mostly spent up & down the UK, throughout East & West Europe, and later a sojourn in a couple of countries in the Southern parts of Africa. Next stop? Ah well, wouldn’t you like to know!

Conductor Composer Stephen P Brown grew up and lived in both the USA and the UKBut as I’m sitting here for a few moments, pondering the extraordinary life I’ve lived split primarily between two continents, cultures and languages (yes, I’m bilingual: I speak English and American), I find it remarkable how much our environment has changed but our enterprise has not. For example, in the late 1980s I predicted that orchestras would start dying out in 20 years or so if they didn’t radically change, and I was correct.

So what about 20 years from now? Hmmm…

“Keep classical music live!”

First, I still believe that acoustic/ unplugged performance affects us in so many more ways than anything reproduced through loudspeakers (click it to tweet it) if only we can be bothered to listen & allow ourselves to fully engage in it, and it cannot be replaced.

From that perspective, I wonder what was I doing 20 years ago that I’m still doing now? Am I doing it differently? How will I be doing it in the future?

Classical Music

  • “Classical music” was an art form studied by many, performed by a few, and enjoyed by a multitude.
  • No-one wants to call “Classical Music” Classical Music anymore. It has a stuffy reputation and technically only refers to the period in history in which Mozart and Haydn lived. We are confused.
  • “Contemporary Music” will be only a [major] part of intimate and huge all-encompassing events that remind us there’s a form of communication that isn’t verbal or visual, but emotional.

 

The Towaco Story by Conductor Composer Stephen P Brown

Composing

  • Manuscript paper could be bought or drawn, and music was created & shared by using a pencil, ruler and eraser/ rubber (see? I told you I’m bilingual).
  • Computer software is readily available, both audio-based used primarily for output such as films, and visual-based used primarily to print music for live performers to read.
  • Even without Steve Jobs around, composition technology will continue to grow and astound those of us born before 2009.

Music Theory

London Sinfonietta Postcard Score Event

The music score of “One for Vonnegut”

  • Musical rules and regulations developed over 400 years were studied and followed rigorously prior to being broken and expanded upon.
  • Sometimes musical rules and regulations are followed, sometimes not, sometimes they don’t even apply, especially in graphical scores.
  • People will like music that affects them, whether it is disturbing, pleasing or in-between, and the rules and regulations of multiple cultures’ musical traditions will be meshed together to create new musical theories.

Commercialization

  • Specific performers were adopted by a benefactor such as the aristocracy, a publisher or a record label, who paid the performer to perform or the composer to compose in order to entertain themselves & their staff, or make money.The Three Tenors became a commercial goldmine
  • Anyone can self-publish, self-record, and self-promote. Many consumers are getting fed up of hearing the same financially viable repertoire pumped into their ears time and time again.
  • Private enterprise will promote performers and composers through hosting or advertising at large live events and online, kind of like Pepsi and Verizon have been doing with (currently-commercialized) female pop stars. Consumers will favor living composers but still occasionally wallow in the music of Dead White Men.

Funding

  • As above, musicians struggled or were adopted by a benefactor. In the Olden Dayes of Classical Music, there was no public government funding.
  • Musicians still struggle, but many are supporting themselves handsomely through ‘entrepreneur-like’ activities such as teaching, producing (live & recording), publishing, retail, and performing all combined. Some governments still spend as much as 0.5% of their nonviable budgets on all the arts.
  • Musicians will still struggle and many will be a part of larger organizations and co-ops. But, administrators will support not direct, and Boards will over-see not make decisions. Public funding will still be a hot topic but far less influential.

 

One thing I can assure you about classical music in 20 years’ time: it will still be here. It is not dying. There will always be someone scraping a wooden violin, someone tooting down a metal tube, and someone banging on an array of so-called ‘instruments’ (aka Percussion). It may morph, shrink and grow, expand and minimalise itself to 1 note (or nothing, in the case of John Cage’s 4’33”), but it will still exist.

After all, the community and youth orchestra scenes are enjoying unprecedented success and are clearly still on the upswing (if not just reaching their height).

What YOU think “Classical Music” will be like in 20 years…

Contact Us

Fire the musicians!

RLPO Courtesy of ClassicFM.com

Yet another terrific #OrchChat last week! Thank you to all who participated in the lively discussion.

For one hour several people from around the world gradually joined in as schedules permitted, and there was much intense and passionate discussion among the group. Based on feedback, we kept the format to three topics and as usual, they bled into and over each other. It was actually fun (no, really) keeping up.

The topics we explored were:

  1. Free Flashmobs. Although a great marketing tool, when orchestras perform for free do they devalue what they do?
  2. Liven it up! How do we overcome performer’s lethargism due to the repetitive nature of the job? Fascinating responses, including “Fire them!” (unfortunately it was a very well known critic who has since closed his Twitter account 🙁 ) as well as changing the shape of the concert hall (or getting rid of the “stage” altogether!)
  3. Who’s in charge? Again, opposing viewpoints on who calls the shots – the money (i.e. the Board) or the Artistic Director? (Almost no-one supported the CEO or other administrator.)

What are your thoughts about these topics, and what topics would you like to discuss? Add your comments below this post.

Some stats for the hashtag #OrchChat (some people keep forgetting to add it to their tweets – sorry!):

Click this link to read the transcript:

orchchat_tweets_2013_03_12

THANK YOU to the following participants who I hope will join you and me next time on Tuesday, April 9 at 6pm Eastern Time:

AudienceDevSpec
CStarek
CatchMaullaria
AzuriteEnigma
LaceyH
pscanling
RichardBratby
BrianKUSC
CarmenBound

Nostalgic Chatty Conductors in Beautiful Penguin Suits

Can you believe it’s already been a month since the last chat about orchestras on Twitter? It was another FABULOUS discussion amongst some passionate orchestra enthusiasts, and we’re on a role with three under our belt.

twitter#OrchChat was scheduled for one hour and this time people from around the world were prepped and keen to get started. I’m thrilled so many people participated and the conversations got so meaty we even added an additional topic! One piece of feedback was along the lines of having only one topic per chat. It’s certainly a good idea, but my thought is that these monthly Twitter chats should prompt and promote further discussion all over the web-o-sphere – certainly lasting longer than an hour. What do you think? Would it be better to have one topic per chat, or three?

The topics we explored were:

  1. Keep the penguin suits? Should orchestras still be wearing white-tie and tails to perform in. MOST interesting feedback!
  2. Nostalgia: Are performers and audiences stuck with music they like from 100, 200, 300 years ago?
    2a. This actually prompted a new topic: Should conductors talk from the stage? Wow – opposite answers from performers and audiences!
  3. Beauty: What makes music beautiful? A tough one as music is totally subjective, but there were a few responses. Actually, the previous three topics were still dominating the chat well past the closing hour.

What are your thoughts about these topics, and what topics would you like to discuss? Add your comments below this post.

Some stats:

Click this link to read the transcript:

orchchat_tweets_2013_02_12

THANK YOU to the following participants who I hope will join you and me next time on Tuesday, March 12 at 6pm Eastern Time:

afllewellyn
arts_marketing
AudienceDevSpec
AzuriteEnigma
classicpassion
danielyep
DustinNay
ElinSilveous
fdtorres
gilypoz7
londonsymphony
MaestrosLover
playinglesshurt
pmkotla
PracticalWisdom
RichardBratby
ThePeoplesOrch

Memory lane: Was it good, bad or empty?

Each month I keep an eye on the conversations I’m having with people to find topics for my next #OrchChat – an hour of discussion on Twitter about orchestras. Usually the three topics of each chat are quite diverse but so far have somehow bled into each other. It’s really a fascinating hour.

Click here to read the transcript of January’s #OrchChat

Over the past couple of weeks there is one conversation that has cropped up several times from several sources, including the excellent & brief daily snippet of arts news You’ve Cott Mail, and I was just wondering about your experience in the arts. This topic just might be included in February’s #OrchChat (on the 12th at 6pm ET).

Were you in a youth orchestra, choir or musical?

Were you in a youth orchestra, choir or musical?

For example, when you were in school or even college, did you ever sing or play a musical instrument? Were you in a play or musical? Did you ever attend a school concert or show that a friend or sibling was in? What about in the community?

My point of barraging you with these questions is to find out what, if any, experience you had with music and the performing arts, especially whether or not you enjoyed it.

Are there any specific memories of good feelings or events that come to mind?

Have a think about it.

Then send me an email with your observations and experiences. If you feel like sharing, go global so all the world can learn: add a post to my Facebook page.

 

#OrchChat – January 2013

Twitter was the home of another FABULOUS discussion amongst some passionate orchestra enthusiasts last night!

#OrchChat was scheduled for one hour and although it got off to a slow start, people from around the world joined in and the discussions got meaty. I’m thrilled so many people participated and some have already made terrific suggestions for next month’s session.

The three topics we explored, with very interesting perspectives from performers and audiences, were:

  1. Public Self-Condemnation: does the language orchestras use turn people off?
  2. Dull vs. Sparkling: ballet, opera, film, video games all have visual elements. Are orchestra concerts boring?
  3. Why should orchestras use Twitter?

What are your thoughts about these topics, and what topics would you like to discuss? Add your comments below this post.

Some stats:

Click this link to read the transcript:

 orchchat_tweets_2013_01_08

THANK YOU to the following participants who I hope will join you and me next time on Tuesday, February 12 at 6pm Eastern Time:

19_eighty_2
afrikajay
AudienceDevSpec
AzuriteEnigma
CStarek
gilypoz7
MaestrosLover
MarkTannerPiano
mlaffs
njd2245
pianobug
Pishlipops
RGinDC
RichardBratby
Stephen_P_Brown
TylerBarton27

You certainly asked!

THANK YOU to all who participated in the 3rd Annual #AskAConductor Day on Twitter earlier this week. Remarkable stuff! Some friendships were rekindled, some new ones made, and I’m hoping that those who like live music (orchestras, choirs, musicals, opera, film, etc.) are now more aware of what conductors actually do, how they do it, and why.

After all, that’s the purpose of giving you a global opportunity to ask a conductor whatever you want!

If you missed it, glean the incredible list of original tweets from the transcript linked below and make sure you join my mailing list so you get to hear about next year’s event ahead of time.

But grab a last-minute chance now – add your question in the comments below and I’ll put it to ‘the crew’ and have a go at answering it myself. We don’t want you non-Tweeters to be left behind, so ask away!

Here are some 2012 #AskAConductor stats:

  • 1028 total tweets between December 11 & December 13 (Eastern Time)
  • 860 original tweets, 68 Retweets
  • 56 participants
  • Most questions from gabriela_hb in El Salvador
  • Top 3 tweeting conductors (excl. me):

Be sure to join in the fun next year!

Click here to download the full transcript (131KB. Need Adobe?)

 

First #OrchChat

Earlier this evening I hosted my first Twitter chat. Thanks to the encouragement, inspiration and sharing of resources from Lisa @PracticalWisdom it seemed to be a success! Well, I certainly enjoyed it, and time simply flew by.

And I’m impressed that a conductor from Finland joined in – it was 1am there when we started!

The three topics we explored, with very interesting opposite perspectives from performers and audiences, were:

  1. Do musicians who played in youth orchestras now advocate for or even attend orchestra concerts?
  2. Do concert halls help or hinder the success of orchestras?
  3. Why are some conductors marketed and treated like Rock Stars?

Click this link to read the transcript:

OrchChat-121120c

Please let me know in the comments below if we should do this again, and if we do, what topics would you like to discuss? Thanks to the following participants, who I hope will join us again next time (yet to be scheduled, because we’ll be doing another #AskAConductor in December…)

@AzuriteEnigma
@GrandmaOnDeck
@heatherc503
@MaestroDSCH
@MaestrosLover
@njd2245
@PracticalWisdom
@sashamakila
@StorkBrian

 

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World Orchestra Summit

“I’m about to turn the orchestra world on its head and spin it around a few times.”
Stephen P Brown

The current state of orchestras in the USA is embarrassingly unsound, to say the least. The Western World’s orchestral industry has been decimated by highly inflated costs and drastically reduced public interest. Orchestras all over the world are exploring options for future survival, a few unsuccessfully. I believe the basic foundation blocks upon which the “Industry” or “Establishment” has been built have been cracked for some time and are now crumbling under the weight of so many bandages. Whilst in college some 20+ years ago, I warned of orchestras failing after the turn of the century. No-one wanted to hear it then.

Considering all the talk I’ve been witness to in the past five years, the Industry is simply re-redressing its wounds with dirty bandages. A few brave souls are applying ointment, which will not have much impact on a broken bone, but their efforts are recognized and truly appreciated. A handful of orchestras are re-experiencing momentary respite from their woes, again.

I believe we need a fundamentally new structured approach to the whole thing:

  1. Any orchestra, service or product can only exist if it produces income.
  2. Income comes only from those who appreciate what music does to us individually and socially.
  3. We must educate future decision makers on how music affects humans directly.
  4. We should approach such education through performance, as well as other media.
  5. We must do what makes people feel good about themselves – all people.

The goal should be to share music with other humans, not sustain an orchestra, employ musicians, stroke our egos using a community resource, or worse: fearfully hanging on to the previous century’s way of life and expectations.

I believe it is time to start from scratch. I believe there is a sufficient pool of talent (administrative and musical) keen enough to try something brand new. I believe we should explore what that new approach should be, and implement it.

The World Orchestra Summit intends to bring together a carefully selected qualified population of those who have an existing interest in orchestral music to consider a defined model. Ideas will be shared that will greatly impact their lives and if they choose, the lives of their orchestras and audiences. A handful may want to jump on the new Orchestra train as it leaves the station on its inaugural journey.

  • It’s an arts conference like none before it.
  • It’s an opportunity to shake off readjusting, revamping, redoing, revisiting, reorganizing, regrouping, reconstructing, and re-anything.
  • It’s a safe testing ground to see if there is actual commitment to implement new options, or if the Establishment is so ingrained in the orchestra world’s mind that it is actually just trendy talking/ saying the right things.
  • It is an opportunity to begin with a blank sheet of paper and build a fresh, community- society- heart-based tool for reconnecting hard working, leisure seeking people with that inexplicable element of music that makes us laugh & cry and gives us goose bumps.

Are you ready for the World Orchestra Summit?

To get updates on its development via email, sign up at

http://WorldOrchestraSummit.com