Alright, you have been named the world's first official Classical Music Dictator. >:D
Your reign is short and you only have time to implement one official law.
What is your decree?
Order the destruction of all music ever written for the recorder and destruction of all said recorders.
Have fun. :laugh: Remember that you only have the opportunity to implement one law.
Set government funding for the arts in all countries around the world at a suitable level to support approximately one professional orchestra, opera company, or similar organisation per 100,000 people without need for profits or donations, pegged to the rate of inflation.
Quote from: amw on February 13, 2021, 05:03:37 AM
Set government funding for the arts in all countries around the world at a suitable level to support approximately one professional orchestra, opera company, or similar organisation per 100,000 people without need for profits or donations, pegged to the rate of inflation.
Ooooh. I like that! :)
Quote from: amw on February 13, 2021, 05:03:37 AM
Set government funding for the arts in all countries around the world at a suitable level to support approximately one professional orchestra, opera company, or similar organisation per 100,000 people without need for profits or donations, pegged to the rate of inflation.
Purely for fun, I decided to map out an imaginary plan for the USA under this dictatorship. We'd have about 3,250 orchestras, opera companies, ballets, or chamber music series/festivals under this plan. So I thought, what would that look like?
I decided to imagine a need for multiple orchestras in a large number of cities, to account for new NPR Orchestras and maybe the occasional baroque or contemporary specialist. Ultimately I came up with this plan:
- New York City: six orchestras, three operas, two ballets, fifteen additional chamber/piano/organ/festival etc. orgs (26)
- Los Angeles: three orchestras, two operas, two ballets, ten additional orgs (17)
- Chicago: two of each big ensemble, ten additional (16)
- Houston: two of each big ensemble, ten additional (16)
- cities #5-11: two orchestras, one opera, one ballet, six additional orgs (10)
- cities #12-50: one or two orchestras depending on proximity to a larger city, one opera or ballet, three additional orgs (5-6)
This gets us down to cities like Wichita, Anaheim, Corpus Christie, and Aurora, CO. For these I'm thinking one orchestra and one additional organization/festival. So then my question was: how many more cities could we include?
Well, in the top 50 cities we have roughly 300 organizations. That leaves us with 2,950 left to allocate. The USA has only 317 cities with a population over 100,000, so let's say that if you're in cities #51-317, you get an orchestra and some other thing, and even then, we're still left with 2,400 organizations left to fund!
So then we add Puerto Rico, which needs its own "national" versions of all the big ensembles, and has 5 biggish cities. We can get them 15 easily.
Then, I'd say we'd need at least two cool rural performing festivals per state/island, to compete with European festivals in places like Spoleto and Colmar and that one island in Finland with all the organs. Maybe three. Let's go with three. So that's 153 more.
Then, we definitely have to give orchestras to medium-sized cities with populations between 48,000 and 100,000. That's 470 more cities like Charleston, West Virginia; Enid, Oklahoma; Galveston, Texas; Elkhart, Indiana; Pensacola, Florida; and Hoboken, New Jersey. Many of them are suburbs. But hey, a lot of educated people live in the suburbs!
Now we're down to about 1,750 more orgs. Retroactively, I think I goofed giving too few to the big cities. NYC, for example, has enough performing groups, under amw's rule of thumb, for just 1.4 million people. So let's throw a lot more money at America's ten biggest cities to create specialty ensembles that can cater to weird niches with global reach, like baroque opera companies (Dallas has one in real life), wind bands, and an annual attempt to perform Havergal Brian's Gothic Symphony. Down to 1,600.
One more thought: some of our smaller states are getting deprived because they don't have cities. Wyoming, for example, would receive just two orchestras and three rural festivals. Vermont would have no orchestras or full-time organizations at all. So for these small states, we'll have State Orchestras and radio groups. Add 20 more groups to our tally.
Then I'd say the government should subsidize ways to get all this music to be heard. Arts radio networks, record labels, a streaming service that pays artists more than $0.01. Publishing houses. Also: means to generate new music. Composer retreats. Instrument invention prizes. A recorder for every kid (hi, OrchestralNut ;) ). Down to about 1,400.
And, finally, any money left over would go to schools, conservatories, master classes, and tutoring.
Quote from: Brian on February 13, 2021, 06:22:41 AM
Purely for fun, I decided to map out an imaginary plan for the USA under this dictatorship. We'd have about 3,250 orchestras, opera companies, ballets, or chamber music series/festivals under this plan. So I thought, what would that look like?
I decided to imagine a need for multiple orchestras in a large number of cities, to account for new NPR Orchestras and maybe the occasional baroque or contemporary specialist. Ultimately I came up with this plan:
- New York City: six orchestras, three operas, two ballets, fifteen additional chamber/piano/organ/festival etc. orgs (26)
- Los Angeles: three orchestras, two operas, two ballets, ten additional orgs (17)
- Chicago: two of each big ensemble, ten additional (16)
- Houston: two of each big ensemble, ten additional (16)
- cities #5-11: two orchestras, one opera, one ballet, six additional orgs (10)
- cities #12-50: one or two orchestras depending on proximity to a larger city, one opera or ballet, three additional orgs (5-6)
This gets us down to cities like Wichita, Anaheim, Corpus Christie, and Aurora, CO. For these I'm thinking one orchestra and one additional organization/festival. So then my question was: how many more cities could we include?
Well, in the top 50 cities we have roughly 300 organizations. That leaves us with 2,950 left to allocate. The USA has only 317 cities with a population over 100,000, so let's say that if you're in cities #51-317, you get an orchestra and some other thing, and even then, we're still left with 2,400 organizations left to fund!
So then we add Puerto Rico, which needs its own "national" versions of all the big ensembles, and has 5 biggish cities. We can get them 15 easily.
Then, I'd say we'd need at least two cool rural performing festivals per state/island, to compete with European festivals in places like Spoleto and Colmar and that one island in Finland with all the organs. Maybe three. Let's go with three. So that's 153 more.
Then, we definitely have to give orchestras to medium-sized cities with populations between 48,000 and 100,000. That's 470 more cities like Charleston, West Virginia; Enid, Oklahoma; Galveston, Texas; Elkhart, Indiana; Pensacola, Florida; and Hoboken, New Jersey. Many of them are suburbs. But hey, a lot of educated people live in the suburbs!
Now we're down to about 1,750 more orgs. Retroactively, I think I goofed giving too few to the big cities. NYC, for example, has enough performing groups, under amw's rule of thumb, for just 1.4 million people. So let's throw a lot more money at America's ten biggest cities to create specialty ensembles that can cater to weird niches with global reach, like baroque opera companies (Dallas has one in real life), wind bands, and an annual attempt to perform Havergal Brian's Gothic Symphony. Down to 1,600.
One more thought: some of our smaller states are getting deprived because they don't have cities. Wyoming, for example, would receive just two orchestras and three rural festivals. Vermont would have no orchestras or full-time organizations at all. So for these small states, we'll have State Orchestras and radio groups. Add 20 more groups to our tally.
Then I'd say the government should subsidize ways to get all this music to be heard. Arts radio networks, record labels, a streaming service that pays artists more than $0.01. Publishing houses. Also: means to generate new music. Composer retreats. Instrument invention prizes. A recorder for every kid (hi, OrchestralNut ;) ). Down to about 1,400.
And, finally, any money left over would go to schools, conservatories, master classes, and tutoring.
Ha ha, Brian!! :D
Boy oh boy...... You have put a lot of thought into this. You're in charge of implementation!
Quote from: Brian on February 13, 2021, 06:22:41 AMWell, in the top 50 cities we have roughly 300 organizations. That leaves us with 2,950 left to allocate. The USA has only 317 cities with a population over 100,000, so let's say that if you're in cities #51-317, you get an orchestra and some other thing, and even then, we're still left with 2,400 organizations left to fund!
Too complex. I would think it quicker and easier to use the OMB's MSA and μSA designations. Assuming a lot of money would come from the feds, this would also have the built-in benefit of using existing allocation models.
I, for one, would not mind some type of summer festival being set up in the Moses Lake-Othello Combined Statistical Area.
Quote from: OrchestralNut on February 13, 2021, 04:34:57 AM
Alright, you have been named the world's first official Classical Music Dictator. >:D
Your reign is short and you only have time to implement one official law.
What is your decree?
Congress shall make no law respecting an establishment of musical canon or prohibiting the free exercise thereof.
Quote from: amw on February 13, 2021, 05:03:37 AM
Set government funding for the arts in all countries around the world at a suitable level to support approximately one professional orchestra, opera company, or similar organisation per 100,000 people without need for profits or donations, pegged to the rate of inflation.
Or else what?
I'd commission a piece of performance art, in which one or numerous performers, impersonating iconic operatic characters, blow up a pile of Boulez manuscripts. To be repeated every year on 5 January. Multiple simultaneous performances encouraged. 0:) >:D
Radio stations shall not play a particular recording of a piece again until they've played all the other recordings.
Quote from: OrchestralNut on February 13, 2021, 04:34:57 AM
Order the destruction of all music ever written for the recorder and destruction of all said recorders.
My music education in school was so lousy I wasn't even forced to play recorder. I don't have a reason to hate recorders and I don't. I would be a benevolent dictator. No destruction of anything. You can make me your dictator safely: Your favourite music is not in danger. 0:)
Quote from: steve ridgway on February 13, 2021, 07:17:20 AM
Radio stations shall not play a particular recording of a piece again until they've played all the other recordings.
So, if only 25 % of the recordings are good, radio stations are playing bad performances 75 % of the time? :P
Quote from: 71 dB on February 13, 2021, 07:54:08 AM
My music education in school was so lousy I wasn't even forced to play recorder. I don't have a reason to hate recorders and I don't. I would be a benevolent dictator. No destruction of anything. You can make me your dictator safely: Your favourite music is not in danger. 0:)
Article the First, the One and the Only: Everyone shall be entitled to listen to whatever they wish.
Quote from: 71 dB on February 13, 2021, 07:56:58 AM
So, if only 25 % of the recordings are good, radio stations are playing bad performances 75 % of the time? :P
Good point.
I would do two things:
Bring back music instruction to all schools.
Require radio to play entire works and not just individual movements.
Quote from: DavidW on February 13, 2021, 09:26:45 AM
I would do two things:
Bring back music instruction to all schools.
Require radio to play entire works and not just individual movements.
Thread winner.
Quote from: DavidW on February 13, 2021, 09:26:45 AM
I would do two things:
Bring back music instruction to all schools.
Require radio to play entire works and not just individual movements.
Δαυΐδ ο Σοφός. 8)
Ban the 'New Year's Day Concert from Vienna' and have everyone associated with it arrested and thrown into prison without trial. ;D
Quote from: 71 dB on February 13, 2021, 07:56:58 AM
So, if only 25 % of the recordings are good, radio stations are playing bad performances 75 % of the time? :P
Listeners might come to think
why they're good or bad, and even debate them on forums. :-\
Quote from: 71 dB on February 13, 2021, 07:54:08 AM
My music education in school was so lousy I wasn't even forced to play recorder. I don't have a reason to hate recorders and I don't.
Believe me, if you'd been forced to play recorder you'd hate them all right. >:(
Quote from: vandermolen on February 13, 2021, 03:14:10 PM
Ban the 'New Year's Day Concert from Vienna' and have everyone associated with it arrested and thrown into prison without trial. ;D
Finally, the thread's first
evil dictator!
Quote from: Wanderer on February 13, 2021, 10:18:37 PM
Finally, the thread's first evil dictator!
Excellent! >:D
Quote from: vandermolen on February 13, 2021, 03:14:10 PM
Ban the 'New Year's Day Concert from Vienna' and have everyone associated with it arrested and thrown into prison without trial. ;D
I hope you include the audience in that, possibly the worst aspect of this nauseating kitschfest
Quote from: Wanderer on February 13, 2021, 10:18:37 PM
Finally, the thread's first evil dictator!
An enlightened despot, rather... :D
Quote from: ritter on February 14, 2021, 02:14:29 AM
An enlightened despot, rather... :D
Lord Reith, long time Director General of the BBC, said the best form of government was 'despotism tempered with assassination'.
Quote from: OrchestralNut on February 13, 2021, 04:34:57 AM
Alright, you have been named the world's first official Classical Music Dictator. >:D
Your reign is short and you only have time to implement one official law.
What is your decree?
Have fun. :laugh: Remember that you only have the opportunity to implement one law.
Make ALL the concerts all year round in the land start with Malcolm Arnold's Grand Grand Overture. That would make the population happy while boosting the national manufacturing of hoovers and floor polishers.
Win Win.
...or scrap the last night of the Proms (and never make them end) >:D
Quote from: Biffo on February 14, 2021, 02:12:12 AM
I hope you include the audience in that, possibly the worst aspect of this nauseating kitschfest
And the self-satisfied and smug (male) BBC Radio 3 (morning) presenter who compered the whole ghastly show. 8)
At least 50% of music performed by marching units at ball games, etc., must be marches by King, Sousa, et al. All must be in tune. :)
I would implement a law requiring all well-established orchestras (Berliners, Wiener Phil., Concertgebouw, LSO, LPO, NYPO, etc.) to schedule at least 5 works every season that have never performed by the orchestra performing it. For example, if the New York Philharmonic has never performed Szymanowski's Litany to the Virgin Mary and the principal conductor schedules it, then they must perform it. I think this will hopefully introduce audiences to some works that they've never heard before in a concert hall and have, otherwise, only been able to hear from a recording.
Quote from: Mirror Image on February 15, 2021, 05:12:17 PM
I would implement a law requiring all well-established orchestras (Berliners, Wiener Phil., Concertgebouw, LSO, LPO, NYPO, etc.) to schedule at least 5 works every season that have never performed by the orchestra performing it. For example, if the New York Philharmonic has never performed Szymanowski's Litany to the Virgin Mary and the principal conductor schedules it, then they must perform it. I think this will hopefully introduce audiences to some works that they've never heard before in a concert hall and have, otherwise, only been able to hear from a recording.
Great idea John! Much more positive than mine. :)
Wondering whether or not I'm the only one here who enjoys waltzing? :(
PD
Quote from: DavidW on February 13, 2021, 09:26:45 AM
Bring back music instruction to all schools.
Absolutely! And give the arts the same funding, support, and status as the so-called "core" subjects. There is nothing a student experiences during the entire school day that builds the brain and develops higher-order thinking skills more than playing a musical instrument.
(Disclaimer: Stated by a 20+ year public school music teacher/Fine Arts director who based his Masters thesis and presented workshops on the subject.)
Quote from: DavidW on February 13, 2021, 09:26:45 AM
I would do two things:
Bring back music instruction to all schools.
Require radio to play entire works and not just individual movements.
+1 for both! :)
Quote from: Mirror Image on February 15, 2021, 05:12:17 PM
I would implement a law requiring all well-established orchestras (Berliners, Wiener Phil., Concertgebouw, LSO, LPO, NYPO, etc.) to schedule at least 5 works every season that have never performed by the orchestra performing it. For example, if the New York Philharmonic has never performed Szymanowski's Litany to the Virgin Mary and the principal conductor schedules it, then they must perform it. I think this will hopefully introduce audiences to some works that they've never heard before in a concert hall and have, otherwise, only been able to hear from a recording.
My experience with my local orchestra is that if they play anything from the 20th-21st century outside of show tunes no matter how good their playing they are met with tepid applause. Play a Beethoven or Mozart symphony no matter how mediocre or uninspired the performance is and a standing ovation every time. Now obviously, major orchestras are more adventurous and so is their audience... but I still think that it is easy to underestimate how conservative in taste the average concert goer is and musical directors, conductors and boards always have to keep that in mind. Unfortunately.
But that is truly a great wish list item. I don't think I've ever had quite so much fun at a concert as when I heard something new to me that hit me like a bolt of lightning.
Quote from: vandermolen on February 16, 2021, 01:51:57 AM
Great idea John! Much more positive than mine. :)
Yeah, you're pretty ruthless. :P ;D
Quote from: DavidW on February 16, 2021, 05:39:25 AM
My experience with my local orchestra is that if they play anything from the 20th-21st century outside of show tunes no matter how good their playing they are met with tepid applause. Play a Beethoven or Mozart symphony no matter how mediocre or uninspired the performance is and a standing ovation every time. Now obviously, major orchestras are more adventurous and so is their audience... but I still think that it is easy to underestimate how conservative in taste the average concert goer is and musical directors, conductors and boards always have to keep that in mind. Unfortunately.
But that is truly a great wish list item. I don't think I've ever had quite so much fun at a concert as when I heard something new to me that hit me like a bolt of lightning.
Yes, but you see I would implement this law for major orchestras since I know the audiences will be a bit more accepting of works that aren't programmed too often. Also, a board doesn't supersede what is now a musical law and therefore a requirement for all major orchestras. :)
Quote from: Mirror Image on February 15, 2021, 05:12:17 PM
I would implement a law requiring all well-established orchestras (Berliners, Wiener Phil., Concertgebouw, LSO, LPO, NYPO, etc.) to schedule at least 5 works every season that have never performed by the orchestra performing it.
I'd ramp up the requirements: at least five works from the current decade.
Quote from: Pohjolas Daughter on February 16, 2021, 04:29:18 AM
Wondering whether or not I'm the only one here who enjoys waltzing? :(
PD
You're not, although I enjoy waltzes rather than waltzing. :D
Quote from: Rinaldo on February 16, 2021, 11:21:17 PM
I'd ramp up the requirements: at least five works from the current decade.
Here in Dallas we achieve that annually but struggle to reach five local premieres of older things. I guess that's a sign of healthy programming? The three local premieres of older works in recent years have been Rachmaninov The Bells, Schmidt Book of Seven Seals, and a Haydn symphony they somehow hadn't done yet.
Quote from: Mirror Image on February 15, 2021, 05:12:17 PM
I would implement a law requiring all well-established orchestras (Berliners, Wiener Phil., Concertgebouw, LSO, LPO, NYPO, etc.) to schedule at least 5 works every season that have never performed by the orchestra performing it. For example, if the New York Philharmonic has never performed Szymanowski's Litany to the Virgin Mary and the principal conductor schedules it, then they must perform it. I think this will hopefully introduce audiences to some works that they've never heard before in a concert hall and have, otherwise, only been able to hear from a recording.
Quote from: Rinaldo on February 16, 2021, 11:21:17 PM
I'd ramp up the requirements: at least five works from the current decade.
These both are good ones. 8)
Quote from: Rinaldo on February 16, 2021, 11:21:17 PM
I'd ramp up the requirements: at least five works from the current decade.
Honestly I'd just make a list of the 200 most frequently performed pieces of orchestral music and put a ten-year moratorium on them. Everything else would be entirely up to the conductor and orchestra.
Quote from: Pohjolas Daughter on February 16, 2021, 04:29:18 AM
Wondering whether or not I'm the only one here who enjoys waltzing? :(
PD
I once had a nightmare (seriously) about being forced to do ball-room dancing.
Quote from: vandermolen on February 17, 2021, 03:14:56 PM
I once had a nightmare (seriously) about being forced to do ball-room dancing.
Sorry to hear that Jeffrey. It's supposed to be fun. :(
Just like corporations can pay for their carbon footprint as a way of avoiding upgrading to more clean energy emissions, music performance institutions must pay into a trust fund every time they play a work from the classical standard repertory. The trust fund would go towards commissioning and performance of new music by living composers.
Quote from: Old San Antone on February 18, 2021, 05:31:55 AM
Just like corporations can pay for their carbon footprint as a way of avoiding upgrading to more clean energy emissions, music performance institutions must pay into a trust fund every time they play a work from the classical standard repertory. The trust fund would go towards commissioning and performance of new music by living composers.
Ohhhhhhhh! That's a great one!
Quote from: Old San Antone on February 18, 2021, 05:31:55 AM
Just like corporations can pay for their carbon footprint as a way of avoiding upgrading to more clean energy emissions, music performance institutions must pay into a trust fund every time they play a work from the classical standard repertory. The trust fund would go towards commissioning and performance of new music by living composers.
So orchestras that are already cash-strapped should be compelled to pay into a fund in order to play the music their audiences want to hear. The fund will be used to commission works that will almost certainly be box office poison. Sounds sensible to me.
Many of the propositions here boil down to "People should like what I like and dislike what I dislike and if they don't they should be forced to."
Quote from: Florestan on February 18, 2021, 07:20:02 AM
Many of the propositions here boil down to "People should like what I like and dislike what I dislike and if they don't they should be forced to."
But that's why the thread is called "Music Dictator," not "Music President." ;D
Quote from: greg on February 18, 2021, 07:23:48 AM
But that's why the thread is called "Music Dictator," not "Music President." ;D
You nailed it Greg. 8)
Quote from: Florestan on February 18, 2021, 07:20:02 AM
Many of the propositions here boil down to "People should like what I like and dislike what I dislike and if they don't they should be forced to."
Absolutely not! >:(
Quote from: greg on February 18, 2021, 07:23:48 AM
But that's why the thread is called "Music Dictator," not "Music President." ;D
Of course and it's actually very interesting because it shows that even in the most peaceful and tolerant people lies dormant a dictator. ;D
Quote from: Biffo on February 18, 2021, 06:37:02 AM
So orchestras that are already cash-strapped should be compelled to pay into a fund in order to play the music their audiences want to hear. The fund will be used to commission works that will almost certainly be box office poison. Sounds sensible to me.
Orchestras and other classical music institutions must pay licensing fees and rent scores and parts, as well as maintain their buildings, and entire campus, promote their concerts, pay salaries to their conductors and musicians, as well as all staff. If they choose to primarily play music by dead composers, and not support the living generation of composers, they are helping to turn classical music into a museum of old music.
I think if they can afford all the other aspects of operating their institutions, they can add in a small fee to a trust fund to promote new music (presumably including works that audiences will enjoy). These institutions are usually beneficiaries of either government subsidies or corporate gifts, or both.
Quote from: Old San Antone on February 18, 2021, 08:56:44 AM
Orchestras and other classical music institutions must pay licensing fees and rent scores and parts, as well as maintain their buildings, and entire campus, promote their concerts, pay salaries to their conductors and musicians, as well as all staff. If they choose to primarily play music by dead composers, and not support the living generation of composers, they are helping to turn classical music into a museum of old music.
I think if they can afford all the other aspects of operating their institutions, they can add in a small fee to a trust fund to promote new music (presumably including works that audiences will enjoy). These institutions are usually beneficiaries of either government subsidies or corporate gifts, or both.
Who will manage that trust fund?
There are hundreds of living composers. Who gets to decide who gets a commission and who doesn't?
What criteria are there to decide what audiences will enjoy or not?
Why not financing that trust fund directly from government subsidies or corporate gifts or both?
Quote from: Florestan on February 18, 2021, 09:18:42 AMWho will manage that trust fund?
A financial trustee.
QuoteThere are hundreds of living composers. Who gets to decide who gets a commission and who doesn't?
A board of professional musicians, composers, institutional management, classical music publishers, venue representatives, and other stakeholders in the classical community, including non-professionals, i.e. audience representatives. Much like any grant making authority or prize committee.
QuoteWhat criteria are there to decide what audiences will enjoy or not?
See above. Presumably works which a majority of this board choose will have some appeal on a broader basis than a small cadre of avant-gardists.
QuoteWhy not financing that trust fund directly from government subsidies or corporate gifts or both?
Because I think that classical music institutions that turn their backs on living composers and new music should have to pay for that lapse on their part. IF they don't voluntarily support the creation and promotion of new classical music, they will be forced to support it through this trust fund.
Ultimately it would be enlightened self-interest, since it is only a matter of time before the old paradigm of playing exclusively music from the 18th and 19th centuries will age out of a sustainable audience. Classical music needs to be enriched by new works and new voices in order to survive, IMO. Or talented composers will choose other genres to realize their aspirations, leaving classical music as a museum of old works with dwindling support.
Quote from: Florestan on February 18, 2021, 08:09:03 AM
Of course and it's actually very interesting because it shows that even in the most peaceful and tolerant people lies dormant a dictator. ;D
Yeah, "absolute power corrupts absolutely" lol.
(though i don't believe that is a 100% rule- some people have good restraint skills- it's a VERY strong tendency).
Decentralization of power ftw. Any steps in the direction of anarchy (that actually work) are the direction that should be taken, even though I of course know that pure anarchy might never work.
...unless the dictator has the same musical tastes as me, then I think pure totalitarianism is the most idealistic society.
Quote from: Old San Antone on February 18, 2021, 09:50:53 AM
A financial trustee.
Nominated/elected by whom?
QuoteA board of professional musicians, composers, institutional management, classical music publishers, venue representatives, and other stakeholders in the classical community, including non-professionals, i.e. audience representatives.
Same question.
QuotePresumably works which a majority of this board choose will have some appeal on a broader basis than a small cadre of avant-gardists.
Which will result in composers writing works specifically for ingratiating themselves with the majority of your board.
QuoteBecause I think that classical music institutions that turn their backs on living composers and new music should have to pay for that lapse on their part. IF they don't voluntarily support the creation and promotion of new classical music, they will be forced to support it through this trust fund.
Iow, The Academy of Ancient Music, Orchestre Revolutionaire et Romantique, Il Giardino Armonico, Concerto Koeln or any other ensemble dedicated specifically and exclusively to music written by dead composers should also play works by living composers, or else be fined.
Quote
Ultimately it would be enlightened self-interest, since it is only a matter of time before the old paradigm of playing exclusively music from the 18th and 19th centuries will age out of a sustainable audience. Classical music needs to be enriched by new works and new voices in order to survive, IMO. Or talented composers will choose other genres to realize their aspirations, leaving classical music as a museum of old works with dwindling support.
I mentioned above some orchestras/ensembles dedicated exclusively to old music. What prevents interested people from forming orchestras/ensembles dedicated exclusively to new music?
Quote from: Florestan on February 18, 2021, 10:51:37 AM
Nominated/elected by whom?
Same question.
Which will result in composers writing works specifically for ingratiating themselves with the majority of your board.
Iow, The Academy of Ancient Music, Orchestre Revolutionaire et Romantique, Il Giardino Armonico, Concerto Koeln or any other ensemble dedicated specifically and exclusively to music written by dead composers should also play works by living composers, or else be fined.
I mentioned above some orchestras/ensembles dedicated exclusively to old music. What prevents interested people from forming orchestras/ensembles dedicated exclusively to new music?
Andrei, but surely you would know how dictatorships work...
Good evening to you.
Quote from: ritter on February 18, 2021, 11:27:35 AM
Andrei, but surely you would know how dictatorships work...
Good evening to you.
To you too, Rafael.
Quote from: Florestan on February 18, 2021, 10:51:37 AM
Nominated/elected by whom?
Same question.
Which will result in composers writing works specifically for ingratiating themselves with the majority of your board.
Iow, The Academy of Ancient Music, Orchestre Revolutionaire et Romantique, Il Giardino Armonico, Concerto Koeln or any other ensemble dedicated specifically and exclusively to music written by dead composers should also play works by living composers, or else be fined.
I mentioned above some orchestras/ensembles dedicated exclusively to old music. What prevents interested people from forming orchestras/ensembles dedicated exclusively to new music?
Okay, you don't like my idea, put forward in a thread asking for this very kind of idea. Last time I checked this was an informal Internet forum, not a steering committee for creating this trust fund and ironing out all of the details of its administration. You have successfully beaten this small horse to death. ::)
Next.
Quote from: Old San Antone on February 18, 2021, 12:08:38 PM
Okay, you don't like my idea, put forward in a thread asking for this very kind of idea. Last time I checked this was an informal Internet forum, not a steering committee for creating this trust fund and ironing out all of the details of its administration. You have successfully beaten this small horse to death. ::)
Next.
You might have remarked that I didn't reply to your original post. I simply inferred from your next post, namely this:
Quote from: Old San Antone on February 18, 2021, 08:56:44 AM
Orchestras and other classical music institutions must pay licensing fees and rent scores and parts, as well as maintain their buildings, and entire campus, promote their concerts, pay salaries to their conductors and musicians, as well as all staff. If they choose to primarily play music by dead composers, and not support the living generation of composers, they are helping to turn classical music into a museum of old music.
I think if they can afford all the other aspects of operating their institutions, they can add in a small fee to a trust fund to promote new music (presumably including works that audiences will enjoy). These institutions are usually beneficiaries of either government subsidies or corporate gifts, or both.
that you were not talking about a theoretical dictatorship any longer but suggested that such an idea might actually be put in practice in the real world. So my point about the real world is that while your goal is noble and commendable, what you suggest for achieving it is creating a fund-controlling cultural bureaucracy which will produce nothing but what bureaucracies, especially fund-controlling ones, produce(d) everywhere, at any time : complacency, conformity, routine, mediocrity and corruption.
If I was wrong and you were still talking theoretically dictatorial, I apologize.
Quote from: Florestan on February 19, 2021, 01:24:35 AMthat you were not talking about a theoretical dictatorship any longer but suggested that such an idea might actually be put in practice in the real world. So my point about the real world is that while your goal is noble and commendable, what you suggest for achieving it is creating a fund-controlling cultural bureaucracy which will produce nothing but what bureaucracies, especially fund-controlling ones, produce(d) everywhere, at any time : complacency, conformity, routine, mediocrity and corruption.
Aren't "fund-controlling cultural bureaucracies" what keeps many orchestras alive and well all around the world?