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Musicians and Audiences, Present and Future |
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The
difference between composing solely ________
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Both a personal diary and a public essay are important forms of expression, but one is an unfiltered emotional output usually meant only for the writer, and the other is a work intended to be read and interpreted by others. My approach to my music is that if I expect an audience to listen to it, then I often think in terms of what will communicate to them, as well as to myself, while I'm creating it. |
Sometimes, ________
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________ If
composers want to |
We are all mammals with regular heartbeats and a physical connection to the harmonic overtone series; we respond on a very deep level to pulse and melody. I don't feel that either must be abandoned in the quest for a unique voice, and so I do my best to write contemporary music that is dynamic, passionate and intended for others to grasp. |
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Does this mean that I've condemned my pencil to nothing other than simplistic drivel? I hope not! Composers don't necessarily need to compromise their artistic vision if they choose to take the experience of the listeners into some consideration. Sometimes, in fact, such external awareness can make us even better communicators. |
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If
composers want to attract audiences
for our music, indeed, if we wish to remain relevant to the public,
then it is my opinion that we must earn the interest of our listeners.
Just because we know that art music is important and enriching
doesn't mean that others will automatically flock to hear our work;
too often, the opposite appears to be the case.
It helps to give audiences a personal connection with the musicians and the stories behind the pieces. Creating an affinity between the people on one side of the music stands and those on the other makes it more likely that the latter will enjoy themselves and want to return for more. That's why this website includes a number of photos of me and vivid descriptions of my pieces— not vanity, but a desire to connect with my colleagues and with my audience. |
Composers don't ________
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Who
will buy ________
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Musicians
and composers must do everything
they can to reach people— to talk to them before and after concerts
(and during them), and to bring our performances into inviting, relaxing
spaces. We must take an active role in attracting new listeners and
advocates. In the world of MTV and computers, few inexperienced concert goers are particularly comfortable having to sit absolutely still while having music performed at them. When I attend a rock or jazz concert, my body moves, and in those venues that's considered an appropriate response. Why is it that suddenly once we delineate a style of music as being "serious," "legit" or "classical," all that sensual freedom disappears? Considering who the next decade's potential concert goers are, it might be worth looking at new ways to present art music, even if that means departing from traditional norms. |
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We
should give audiences
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In the wake of uncertain funding for art and music education in many American elementary and high schools, composers and musicians face a challenge. If children aren't exposed to the wonders of concert music in either their homes or their schools, and if they're not taught by example about the importance of supporting the arts, who will buy the concert tickets twenty years from now? How will the next generation ever know about the joys of musical expression if they're not offered a meaningful connection with it when they're very young? |
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We
must all raise our voices
to
school boards as well as to local, state and national government agencies.
We must remind the people behind these entities that the real value
of a civilization is not its technology or its efficiency, but the
legacy of its art which reveals the souls of its citizens. Those of
us who contribute to this legacy with new musical offerings must also
work to protect it by fostering our society's understanding of creative
arts. When
someone can relate to the joy of what an artist does because
they too have had a special bond with such an experience, then that
magic triangle created between the composer, the musicians and the
listener is truly complete. If
these topics interest you, a gifted colleague named John Steinmetz
has written a marvelous essay worth reading: Resuscitating Art Music.
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________ How
will the next generation |
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I think it's important to know something about the people behind the music we hear; a sense of who a composer is as a person often gives us a stronger, more personal connection with their work. That's why I've put the time into creating this website. So, peruse the rest of these pages, read about and listen to some pieces, and feel free to drop me an email; I'm always interested in other people's ideas. |
The
real value of a civilization ________
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Want some more? Along with photos and music?
For ten years beginning in 2006, Alex published a personal, pixelsonic blog called Notes from the Kelp, that has developed a following of thousands of readers each month. She pairs snapshots from her daily life by the sea with audio clips of fitting pieces of her music, and welcomes comments. It's Alex's contribution to virtual tourism! Join her in Kelpville, and see where her music really comes from. Enter another world, here
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Click for more essays on: |
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Plus: Published articles
Alex has been given many opportunities to discuss issues relevant to today's composers. In a growing number of publications, Alex's global perspective-- as well as her humor-- are in full force as she directly addresses what it is to be both a musician and an active particpant in the world.
To read and listen to
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©2000-2024
by Alex Shapiro. All rights reserved to design and content.