Pushing the boundaries

More from the current Rolling Stone, featuring their list of the 100 greatest rock singers. This is from Jonathan Lethem's introductory piece, an overview of rock singing:

...what defines great singing in the rock-and-soul era: that some underlying tension exists in the space between singer and song. A bridge is being built across a void, and it's a bridge we're never sure the singer's going to manage to cross. The gulf may reside between vocal texture and the actual meaning of the words, or between the singer and band, musical genre, style of production or the audience's expectations. In any case, there's something beautifully uncomfortable at the root of the vocal style that detines the pop era. The simplest example comes at the moment of the style's inception, i.e. Elvis Presley: at first, listeners thought that the white guy was a black guy. It's not too much of an exaggeration to say that when Ed Sullivan's television show tossed this disjunction into everyone's living rooms, American culture was thrilled by it but also a little deranged, in ways we haven't gotten over yet....

Ultimately, the nature of the vocals in post-Elvis, post-Sam Cooke, post-Ray Charles popular music is the same as the role of the instrumental soloist in jazz. That's to say, if it isn't pushing against the boundaries of its form, at least slightly, it isn't doing anything at all.
When I say I want classical music to connect to the world around us, this is part of what I mean. I want classical music to push against its boundaries -- and our boundaries -- to thrill our culture and derange it. As it did in centuries past.

(When someone sings Schubert, do we expect tension between the singer and the song? I think we look for unity, which -- does anyone agree? -- eclipses the singer's presence as an artist, and also evades any distance between Schubert's time and our own.)


November 20, 2008 2:30 PM | | Comments (2)

2 Comments

Classical singing has its won set of problems. We are hearing people today that do not have enough technique to take ownership of the music they are singing. With the ownership - the kind that makes you think of popping wheelies vocally, all you have is a provincial circus act. Tired performs doing tired tricks that someone else invented.

the gift of ownership must be seized by the performer in charge of his instrument.

Couldn't agree more. One form of authenticity -- absolutely unmistakable -- in a past generation of singers was that they knew they were stars, and expected to knock you dead with their singing. And knew they could do it. And knew that their presence on stage -- even before they uttered a note -- reflected that.

I agree with Roberta. And I would like to add that my rant about musicians/teachers/Grad Students not knowing the repertoire in my last comment is percisely about this issue: not connecting and not really being emotionally involved.

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Age of the French classical audience 
From time to time, people have mentioned in comments here a French government study that supposedly shows that the French classical music audience is very young, with a median age of 38.

I've never been able to find the source for this number. From some of what's been said, I get the idea that it's on a flyer handed out at concerts.

But the French Ministry of Culture tells a different story. You can go here to see the results of their 2008 study of French concert attendance, made available as a PDF file. Or go here if you'd like the numbers in an Excel spreadsheet. (Or here for an overview page, from which you can find out more about the study.)

The numbers are expressed in absolute terms -- the number of people (in hundreds) in various age groups who attended classical concerts in the year the survey covered. And they're broken down by age groups.

From that, it's easy to find what percentage of the French classical music audience falls into the age groups the study specifies:

15-19               4%
20-24               4%
25-34             10%
35-44             18%
45-54             15%
55-64             24%
65 and over    26%
So this median age of 38 seems to be a myth. If we believe the French Ministry of Culture (which has been conducting these surveys for years), fully one-quarter of the French classical music audience is 65 or above. And exactly half of it -- 50% -- is 55 or older.

That means its median age is something around 55. (Since the median would be the point at which half the population in the study is older, and half is younger.)

This should advance the discussion that's erupted here in comments from time to time, about the age of the classical music audience in Europe. Some people think it's lower than it is in the US. But not in France, apparently.

Can anyone point me toward figures for other countries?

(Many thanks to Claudine Verdier- Dievochka for the links to these numbers. Here's her website.)


Age of the audience 
Conventional wisdom: the classical music audience has always been the age it is now. Reality: It used to be younger -- dramatically younger, in fact. Here's some evidence -- primary sources (actual texts of old studies, links to NEA studies) -- plus two of my blog posts on this subject, and some anecdotal data.
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earlier resources

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About this Entry

This page contains a single entry by Sandow published on November 20, 2008 2:30 PM.

Truth or hype? was the previous entry in this blog.

Marginalized is the next entry in this blog.

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