Tuning the Concert

Gold Arts Award Portfolio

My issue in the arts: the classical concert experience November 14, 2010

Filed under: 1D: issues — concerttuning @ 10:28 pm
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How do we transform the conventional classical concert experience to make it more engaging for a wider audience?

One word answer: Diversify

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Technology has allowed music to step into the C21st but the conventional concert experience is still stuck in the past. We need to diversify the concert experience to give people a choice in the way they interact with classical music.

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Today, live concert experiences are not the only way we can hear music. Music permeates our everyday lives. At the click of a button we can hear it on an ipod, instantly download it from the internet or even hear it played in public spaces such as London underground stations. The way we interact with music, including classical, is thoroughly modern. The exception to the rule is the concert experience. This tradition has remained relatively unchanged since the C19th.

For the listener who is accustomed to having technology and all its benefits at their finger tips, stepping into a concert hall can either be a welcomed or mystifying step into another world. For the vast majority of the population, their reaction tends to err to the later. If cultural institutions want to attract young and diverse audiences into the concert hall, they need to recognise the way the modern person chooses to interact with classical music.

Problematically, transforming the conventional classical concert experience is not a straightforward task. It is all too easy to criticise the current format of concerts, but it is not so easy to put forward a successful new model. However, I would argue that the main step we need to make is to diversify. We need more variety in the types of concerts that are promoted and more variety in the music played.

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Once upon a time – Storytelling course October 17, 2010

I undertook a storytelling course run through the WEA to gain some basic skills in storytelling. The course compromised of four two-hour long evening sessions in Stonleigh.

Working with the workshop leader, Janet Dowling, as well as receiving feedback from the rest of the group allowed me to develop my own storytelling style as well as build experience and confidence.

One of the most useful tools I learnt was how to break down the structure of a story and put it into 8 boxes. Most stories follow this pattern of: initial situation, problem, (preparation for quest), try, try, try, transformation and conclusion. I found this helpful as it made the story easier to remember as well as being a template for any stories that I choose to invent.

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To cry or not to cry August 29, 2010

How emotional do we/can we/ should we get at concerts?

Classical music is emotive, but there is this problem that you are meant to go through an inner psychological journey, rather than outwardly expressing this journey.

This may not be helped by our British culture. Imagine a stranger wailing on your shoulder at a concert. You just wouldn’t know what to do!

  1. Do you offer a hankie?
  2. Reprimand them and tell them to keep a stiff upper lip?
  3. Or do you ignore them and hope the problem will go away?

I found myself at the Prom on Sunday night where Sir John Eliot Gardiner was conducting the Czech Philharmonic Orchestra. Greig’s Piano Concerto was simply beautiful and I constantly struggled to hold back my tears. To be fair I was feeling emotional before I entered the concert hall, but none-the-less the music augmented this feeling.

I was in a quandary: to cry or not to cry? Was is socially inappropriate? Will people think I am silly for crying or a fool for letting my emotions run so array?

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