Taylor Swift, K-pop, and others have appealed to worldwide audiences, in the hundreds of millions, and are truly modern-day phenomena. At the same time, the audiences for classical music have been in decline for decades, accelerated by anxieties during the COVID pandemic, which tended to increasingly limit subscriptions, albeit probably less so among younger populations.
Studies indicate that in the United States live orchestral concerts and opera attendance dropped by 30% in recent years. Already some twenty years ago, a Knight Foundation report, “Classical Music Consumer Segmentation Study,” found that “only 10-15% of Americans have a close relationship with classical music.”
The reasons for these relative losses are complex but encompass both the modern cultural and technological landscape shaping the music consumption habits of audiences everywhere.
What is called “classical music” has evolved, buffeted by change as musical innovators tried their hand at breaking away from classical traditions.
So, starting in the 20th century, traditional classical music aficionados found themselves split, some going enthusiastically for new kinds of music. In contrast, others who used to regularly attend concerts were turned off.
We now have something called “contemporary classical music”, a broad term that encompasses a wide range of styles and techniques. Briefly, among the better-known trends today, we have:
- Post-tonal music: mainly composed after 1945, it is characterized by atonality and dissonance. It’s the kind of music that lies outside of the tonal system that was in place for the Baroque, Classical, and Romantic periods;
- Serial music: Pioneered by Arnold Schoenberg, it involves the use of a series or row of pitches, rhythms, dynamics, or other musical elements while allowing for a high degree of control in the composition process;
- Minimalist music: Featuring repetitive structures, steady drones, and often a slow rate of change, it emerged as a reaction against the complexity of serialism and other modernist styles;
- Post-minimalism: This style retains some elements of minimalism but introduces more complexity and expressiveness, often incorporating influences from a variety of other musical styles;
- Spectral music: This style is based on the analysis of the spectra of sounds, rather than on traditional scales and modes;
- Electronic music: The result of technological advances, it uses electronic instruments and digital technology as a key component of the composition and performance process;
- Experimental music: a style that explores new and unconventional ideas and techniques, often challenging traditional definitions of music;
Notable experimental composers include at least two Americans: George Antheil (1900-1959)perhaps most famous for his “ballet mécanique” (but also the inventor of a radio guidance system for torpedoes in World War II) and musician, multimedia artist and filmmaker Laurie Anderson (musically active since 1975); Argentine composer Damián Anache (born 1981)who primarily composes for and performs on pipe organ; French composer Frédéric Acquaviva (born 1967) who won the prestigious Karl Sczuka Prize for his music “ANTIPODES” in 2020; and British composer and musician of experimental and electronic music Laurie Scott Baker (1943-2022).
But it goes much wider and deeper than that. The implications of music industry data trends and perhaps more broadly, cultural heritage over time, are important.
Music growth has been tied to the surging popularity of contemporary genres such as pop, hip-hop, rap, and electronic dance music (EDM) – and the role of jazz since the middle of the 20th century cannot be forgotten. Society has become increasingly fast-paced and digitally driven which has translated into preferences for musical forms that offer immediacy and accessibility, and reflect contemporary lifestyles and social dimensions.
Classical music – whether that of the old masters or contemporary innovators – has suffered from a historical association with the cultured and affluent, and in so doing, it has become less appealing to new, younger, and less well-off audiences. Conventional orchestral performances and opera productions have struggled to resonate with such audiences who are accustomed to more interactive and immersive musical experiences.
In short, classical music is seen as more of a static art form, less appealing to a modern audience. Gen Z does not consider classical concerts as an ideal mode of entertainment. Likewise, at least so far, contemporary classical music does not appear to have made much progress with them.
Why new contemporary “pop” and other such genres are thriving
In comparison, new contemporary genres have thrived in part due to their adaptability, incorporating elements of cultural relevance, technological innovation, and social connectivity. These genres can reflect a diverse array of societal themes, ranging from personal empowerment, and social justice to escapism, and celebratory euphoria, and use language typically unfamiliar or uncomfortable to classical music listeners.
Typically, there is a powerful rhythmic vitality and lyrical expressiveness that embraces modern production techniques. It resonates with audiences globally – from the United States and Europe to South Korea, from Mexico to Australia, across the Middle East, and yes, even in Russia – fostering a sense of inclusivity and relatability, and with the benefit of being able to cross cultural boundaries.
For the most part, and unlike much of classical music (and even contemporary classical music), long listening time is not needed, or if in an album, separate short pieces can be heard, at different times.
New technology has spanned the globe providing the means for ready access, whether at home, in a vehicle, or just outside with headphones.
Digital platforms and streaming services – for example, Spotify, Apple Music, Qobuz, Tidal, Amazon Music, and others less well known – have significantly altered the music industry landscape, empowered independent artists and provided consumers with seamless access to a vast array of musical content. Hollywood has played its part in this process, providing sometimes remarkable music with its films, and some major composers have emerged, like Ennio Morricone:
This expanded music distribution system has broadened the visibility of contemporary genres, on the one hand allowing for greater exposure and commercial success within a highly competitive market. However, what may seem a degree of “empowerment” of artists has also meant that many artists are either in relative poverty or obliged to embrace a different lifestyle based on feverish concert-giving in local communities to make ends meet.
Over time, and as we have seen even more recently, only an elite and minuscule number of the most successful artists of the day reap the full benefit from music streaming. Many others are left far behind and scrambling to make ends meet.
Social media and digital marketing, however, are factors also moving in the other direction: They offer opportunities and further elevate contemporary music, enabling artists to directly connect with their fan base, leverage viral trends, and capitalize on user-generated content to amplify their reach.
This relationship between artists and online communities has facilitated the rapid dissemination of new music and the proliferation of trends, embedding contemporary genres in popular culture, and offering opportunities for sales and profits well beyond what was within reach in past times.
Further, brand endorsements, product placements, and collaborative ventures all have propelled contemporary genres into the forefront of consumer consciousness, and solidified relationships between music and consumer culture.
The integration of music into lifestyle branding and experiential marketing has augmented the commercial appeal of contemporary genres, positioning them as aspirational cultural touchstones that resonate with a broad consumer base.
Taylor Swift – who has passed the billionaire status in the music industry – has shown how large the pathway can be with live music festivals, immersive multimedia performances, and interactions with fans.
She is not alone, and in the modern musical panorama, turnover is the name of the game as others knock on the same door and are likely to take center stage. Indeed, such experiences are critical aspects of contemporary music culture, fostering a sense of communal celebration, cultural identity, and emotional resonance.
What is holding classical music back
In contrast, the traditional presentation of classical music has struggled to match these social dynamics, and, as a result, its ability to galvanize audiences in the same way is limited.
And there is less emphasis on classical music in formal curricula, which has meant reduced exposure and familiarity of younger generations with the genre.
As educational institutions moved to music education frameworks encompassing diverse genres and stylistic expressions, focus on classical music has diminished, resulting in reduced opportunities for students to develop an enduring appreciation for the genre’s historical significance, complexity, and artistic merit.
Looking forward: A rebirth?
All is not gloom and doom, however, for classical music. There are efforts to revitalize classical music with innovative approaches to programming, presentation, and audience outreach. And signs that a resurgence is possible.
Contemporary orchestras and classical ensembles have sought to diversify their programming by incorporating popular film scores, video game music, and cross-genre collaborations to appeal to wider audience demographics.
Further, there are efforts to integrate classical music into interdisciplinary contexts, such as multimedia installations, digital art exhibitions, and cross-disciplinary collaborations. By converging classical music with visual arts, technology, and contemporary themes, such experiments seek to enhance the immersive and interdisciplinary appeal of classical music, forging connections with modern audiences on multiple sensory and intellectual levels.
And, there are community engagement programs designed to introduce classical music to build a foundational understanding and appreciation of the genre’s cultural significance. By fostering access to classical music through school programs, community concerts, and public events, there is the possibility of altering perceptions of classical music as an exclusive cultural artifact and demonstrating it as a dynamic and accessible art form capable of enriching contemporary lives.
According to the New York Times, in 2023 audiences began coming back to orchestras: “…a turnaround appeared most everywhere, which many leaders ascribed to an easing of lingering health concerns around the pandemic, particularly among older segments of the audience.”
Looking to the future, there should be room for growing audience appeal and financial support to allow for classical music to keep pace with rap, hip-hop, and the next newest sound.
