[Dixielandjazz] OKOM & CLASSICAL MINDSETS

[Steve barbone]

The other day I heard a fellow band leader state that he didn't let young
wannabe musicians sit in at OKOM Fesitvals because her didn't feel he should
"dumb down" his program. I suspect that the "dumb down B***S***" is rampant
among OKOMers. Therefor I offer the below for comparison. Seems that
Symphony Orchestras also have a problem with declining audiences caused
also, in part, by musicians who think their asses weighs a ton.

As Pogo said, "We have met the enemy and they is us."

Cheers,
Steve Barbone 

PS. The "dumb down" band leader has hardly any gigs to dumb down these days.

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Since 2003 prominent articles by music critics of the New York Times
projected a gloomy future for symphonic music inclujding a review of music
writer Norman Lebrecht¹s book, "Who Killed Classical Music". Another music
writer, Charles Rosen, acknowledged that contemporary composers have not
been able to attract audiences.

Although some symphonies are doing well, the Florida Philharmonic as well as
the San Jose, San Antonio, Tulsa, and Miami symphonies have been forced to
shut down for lack of funds in recent years. The St. Louis Symphony faced
bankruptcy (thought recently bailed out by a major donor), and other
distinguished symphonies are experiencing deficits for the first time. Few
American symphonies now have recording contracts, and the greying of
audiences hasn¹t been changed by an influx of younger music lovers.

Funding from large foundations that fuelled a boom in American symphonies in
the 1960s has dwindled in recent decades. However, two big American
foundations have stepped in with programs to stimulate perceived needs for
structural and attitudinal change in American symphony orchestras. The
Mellon and Knight foundations have provided competitive grants focused on
reformist objectives to some 25 American symphony orchestras.

(The Mellon  and Knoght Foundations still support the symphonies.)

The Knight Foundation's ten-year $10 million investment in American symphony
orchestras and classical music research takes a radical, audience-oriented
approach. The unusual Knight initiative included polls of 25,000 persons and
extensive statistical analyses on the communities of 10 symphony orchestras.
The results showed that up to 60% of the surveyed adult public had at least
occasional interest in classical music, but less than 5% bought concert
tickets.

Penelope McPhee, Chief Program Officer for the Knight Foundation, states:

"I¹d argue that for the most part, orchestras have nothing but disdain for
their audiences. The whole notion that doing it differently is "dumbing it
down" is disdainful. The attitude you communicate to us audience members is
that you¹re doing us a favour by letting us pay you to play what you want to
play. You want us to pay our money and eat our spinach because it¹s good for
us". 

Her statement brought mixed reactions. Some symphonies support outreach and
audience empowerment.  However, Duluth Symphony director Mark Thakar
reported that, so far, initiatives among the participating orchestras have
been limited. Among other things, managers were said to be leery of seeking
broader audience input at the cost of the "quality" and the reputation of
their orchestral offerings.

As the first major American foundation effort to analyse the relationship
between symphony orchestras and their potential audiences, the Knight
Foundation report was a milestone. Though little reported in the media, its
recommendations have made waves among symphony organizations in the U.S.
Some organizations are overhauling web sites, initiating more outreach
activities to connect with audiences, scheduling combining musical events
with other cultural activities, featuring interviews and more direct
communications from or with the symphony conductor. Preliminary information
suggests that outreach experiments are least likely among struggling
orchestras that guard their limited resources.  They are more likely among
stronger organisations more able to take risks.