The effect of generational change on classical music concert attendance and orchestras' responses in the UK and US

Abstract

While there are conflicting and often inconclusive data on attendance at classical music concerts, the data that do exist both in the UK and US suggest that, at best, attendance is holding even with population growth. This chapter contends that changes in attendance are not based on changes in practical considerations or the decline in arts education, but rather on changes in taste and socio‐demographics. An introduction on the audience for classical music provides a context for the later discussion of current attendance patterns. To better understand the relationship of current audiences with that inheritance, the chapter examines recent demographic data on income and education levels of the audience that attends classical concerts. It might be supposed that an association between income, education and attendance might be considered a positive factor, so that as the overall level of education increases and a growing economy provides higher levels of income, attendance should also increase. But a close examination of the data points to areas of concern. When participation rates are examined, it is found that while the population has grown overall, attendance rates at best have remained flat. A close analysis of US data reveals that a striking change is taking place in attendance patterns that does not bode well for future attendance at concerts. The indication is that attendance is decreasing among the young. Moreover, as these young non‐attenders age, they are not acquiring the attendance habit. The data also establish that many ethnic minorities, who account for an increasing proportion of urban populations and are changing the socio‐demographics of our cities, are not attending concerts despite rising education and income levels. As the number of minorities continues to increase, this is also a matter of concern to the classical music constituency. While these changes can be observed, they are much more difficult to explain. An attempt is made using data from a study on generational value change. This demonstrates that values, which are closely related to tastes that are acquired while young, rarely change as people age. Society changes because of the ageing of new generational groups that bring their new values with them as they move into the mainstream of society and replace older groups. Likewise, ethnic groups bring their own values and tastes, which are also not easily changed. In the midst of this shift in attendance patterns, many orchestras are focusing much of their time and energy on educational outreach. Whether the desire to perform outreach work has originated internally from the orchestras or has resulted from pressure from various funding groups is difficult to determine. Likewise, it is also difficult to determine if the purpose for outreach work is to address the changes in attendance patterns or is motivated by a pure desire to serve an additional public purpose by providing music education to schools. Nevertheless, in an effort to understand the purpose and success of widespread growth in educational outreach programmes, the chapter examines their rationale and their potential as a response to changes in attendance patterns. Because there are little or no longitudinal data on these programmes, grounded theory, a technique common in the social sciences, is used. This approach relies on the analysis of written material on outreach programmes to see if they can reveal any indication as to their purpose and likelihood for success. Finally, the chapter ends with good news. Although the concert attendance patterns for younger members of society and ethnic groups provide areas of concern, there remains a strong preference for listening to classical music that cuts across all education, age and ethnic groups. These data suggest that the decline in attendance among the young and minorities is not due to an unfamiliarity with or dislike of classical music, but to the concert setting itself.