{"id":44,"date":"2008-07-10T18:54:43","date_gmt":"2008-07-10T18:54:43","guid":{"rendered":"http:\/\/www.artsjournal.com\/gap\/wp\/?p=44"},"modified":"2008-07-10T18:54:43","modified_gmt":"2008-07-10T18:54:43","slug":"i_am_not_alone_sitting_in_a_co","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/gap\/2008\/07\/i_am_not_alone_sitting_in_a_co\/","title":{"rendered":"I Am (Not Alone) Sitting in a Concert Hall"},"content":{"rendered":"<p>Over on <a href=\"http:\/\/www.artsjournal.com\/flyover\/\">Flyover<\/a>, John Stoehr has written <a href=\"http:\/\/www.artsjournal.com\/flyover\/2008\/07\/how_polite_should_an_audience.html\">a post<\/a> that asks a question we often contemplate individually about a behavior we never seem to quite challenge collectively: In an age of avant-garde music&#8211;by his definition work designed to provoke&#8211;how polite should the audience be?<\/p>\n<p>This choice quote from the post got &#8217;em riled around <a href=\"http:\/\/www.newmusicbox.org\/\">the office<\/a> today:<\/p>\n<blockquote class=\"webkit-indent-blockquote\" style=\"margin: 0 0 0 40px; border: none; padding: 0px;\"><p>During the peak of the avant-garde &#8211; during the careers of John Cage, Morton Feldman, Milton Babbitt &#8211; there was no concern about the audience. Audiences had always been there and would always be there, except when they weren&#8217;t anymore. It&#8217;s remarkable to imagine composers wondering why no one&#8217;s paying attention to them while at the same time their work&#8217;s value is measured by how much they can piss people off.<\/p><\/blockquote>\n<blockquote class=\"webkit-indent-blockquote\" style=\"margin: 0 0 0 40px; border: none; padding: 0px;\"><p><\/p><\/blockquote>\n<p>Rather a broad stroke to paint in terms of composerly motivation, I think, but it&#8217;s also a strangely popular theme this week. Over on the other side of the pond, there&#8217;s a <a href=\"http:\/\/blogs.guardian.co.uk\/music\/2008\/07\/no_were_not_as_bored_as_you_ar.html\">little fistfight<\/a> going on w\/r\/t some similar <a href=\"http:\/\/music.guardian.co.uk\/classical\/story\/0,,2289751,00.html\">audience frustrations<\/a>.<\/p>\n<p>I don&#8217;t think it&#8217;s extremely challenging music that hurts so much as our silent taking of its punches when they clip our jaw. It&#8217;s the middle of July, and yet we passive-aggressively hack like consumptives as our sole expression of irritation. Are concert hall audiences too repressed to riot any more? Polite is waiting till it&#8217;s over so you don&#8217;t ruin the piece for anyone else. But I would feel a cathartic release and leveling of scales no matter what I was subjected to if, when so moved, I felt at liberty to holler a bit at the end. It would be exciting. Maybe the woman next to me loved it. I would know what she thought; she would know what I thought. In an ideal world, maybe we could have drinks and debate it out afterward&#8211;and maybe she would be so excited by the music that she would pick up the check.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Over on Flyover, John Stoehr has written a post that asks a question we often contemplate individually about a behavior we never seem to quite challenge collectively: In an age of avant-garde music&#8211;by his definition work designed to provoke&#8211;how polite should the audience be? This choice quote from the post got &#8217;em riled around the [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-44","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/posts\/44","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/comments?post=44"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/posts\/44\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/media?parent=44"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/categories?post=44"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/tags?post=44"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}