Youth and Classical Music

Youth and Classical Music

The phenomenon is undeniable - certainly not an absolute, but definitely pervasive. Classical music audiences are aging, school and state budgets for the arts (classical music in particular) are threadbare, and younger people - those who would make up the next generation of lifelong classical music patrons - by and large snub classical music as boring, hard to listen to, too long, and simply "uncool." Perhaps, in time and with life experience under their belts, today's youth and young adults will, in their middle- and older-adult years, find their way to the seats of concert halls, but what happens if they don't? Those of us who passionately promote and appreciate classical music perish the thought that the grandeur of a symphony concert, the intimacy of a chamber music performance, the eager anticipation of a newly unveiled composition, or the comfort of an old stand-by may, as we know and love them, someday become obsolete. And this is to say nothing of the countless benefits that will pass today's youth right by should their young lives be without the beauty and enrichment of classical music - benefits for their brains, bodies, minds, neighborhoods, and wider world.

These concerns are not new. In 2009, the League of American Orchestras released a report in which they outlined the decline in classical music audiences across generations. The report also outlined some key areas for further research and suggested target areas, including, "... understanding the drivers / inhibitors of classical music attendance for Generation X*; [and] understanding behavior of Generation Y** and how to develop their awareness about classical music."

If we are to see the glass half full and not paint such a bleak, dystopian picture of the future of classical music, we might look to all that is being fervently done to insure the next generation of classical music enthusiasts, as well as eagerly and intelligently engage in productive discussions about what more can be done now to lay the groundwork for classical music in decades to come. To this end, Virtual Sheet Music has spent the past few months gathering data from over 100 music teachers and arts organizations from around the world on this very topic. While we have not answered the million-dollar question, we've got lots of fodder for discussion, food for thought, and even some suggestions for what individuals and society might do to steer youth along the path of embracing classical music as a treasure we ought not let slip through our fingers.

What's being done?

To borrow a page from real estate, "Exposure, exposure, exposure!" Not surprisingly, the respondents to our survey unanimously believed in the importance of giving youth every opportunity to "interact with" classical music. Frequent, and even brief, exposure can be extremely impactful, as one teacher explained, "My students love it. Years ago, when I taught K-8 general music, I found that students who were introduced to it at a young age all found some of it to love, since I introduced them to a wide variety in 5-min. listening segments at the beginning of each class."

Further, in an exclusive interview with Jon Weber, the Director of School and Family Programs with the Chicago Symphony Orchestra (CSO), he pointed out that, "You just don't know where exposure will lead students." He explained that while students may not, as a result of one classical music experience, run out and download all of the Mozart they can get their hands on, any one classical music experience may manifest itself in a deeper interest later on in a young person's life.

Jon's words carry with them a lot of weight as he hails from an organization that has made great strides over the past 100 years in helping to grow future generations of classical music creators and enthusiasts. For the past 100 years, the CSO has offered a yearly series of concerts specifically programmed for school groups and families. "The CSO has an incredible history of sharing music with young people," said Jon Weber. "The school and family concert series was founded to expose young people to orchestral music, and the musicians and instruments that make that music come to life." These efforts are reaching wide audiences, as Jon Weber explains, "On average, 40,000 children, teachers, and family members attend the concerts each year, with nearly 50% of school-day audiences coming directly from Chicago public schools."

For the CSO, it's about far more than simply performing the music, closing the curtain, and calling it a day. "When we present programs today, the music should be as vibrant as it has always been, but there also need to be connections to children's daily lives." To achieve this ideal, and rather successfully at that, the CSO provides teachers and parents with pre- and post-concert learning materials and lesson plans to help students understand what they'll hear in-concert, and then take what they've experienced out into their worlds beyond the concert hall with "suggestions for continued learning and exploration." The CSO also "list[s] learning objectives in the curriculum we develop, and all of our curriculum is aligned with state arts learning standards and Common Core standards." He added that, "Specific student outcomes are dependent, in great part, on teachers' use of the materials." These supplementals can help teachers better justify to administrators the time spent preparing students for, attending, and debriefing after the concert experience. For schools with band and orchestra programs, the CSO offers master classes, ensemble-playing opportunities, invitations to attend open CSO rehearsals, and chances to get to know musicians from the orchestra.

"Many schools have limited resources, and we do what we can to reduce barriers," explained Jon Weber. In this centennial anniversary of this remarkable, far-reaching program, the CSO is offering free school-day concert tickets, as well as free transportation for Chicago public schools to attend concerts. "Hopefully," he reflected, "this supports their interest in playing an instrument and coming to concerts. It's incredible to see students' enthusiasm."

As explained by Jon Weber, and as reported by the respondents to our survey, simply listening to, or going through the motions of playing classical music, may not, in and of themselves, provide the richness of exposure required to spark a young person's interest in classical music. For one thing, teachers and arts organizations who responded to our survey emphasized the importance of context. Beyond simply playing classical selections in the classroom, assigning classical repertoire to learn and perform, and encouraging concert attendance, making connections between classical music and the wider world was paramount to teachers' and organizations' efforts. In other words, teachers and arts organizations suggested that their efforts seem most successful when youth have the opportunity to understand the historical landscape when a particular piece was composed, and what life experiences may have moved a composer to write a particular piece. To illustrate this point, one music teacher shared, "My students really enjoy classical music when they are learning to perform it in a group setting. They are eager to know the context of a piece and enjoy learning about the history associated with it." Another teacher reflected, "... most [students] are very receptive to learning music from different periods of time, especially when I add some history about the composer and piece, and explain why we are choosing that particular music."

Along with helping students understand the back-story behind the classical music they hear and play, teachers and arts organizations are also tasked with showing students how classical music conveys and arouses a broad spectrum of emotions, and even how today's popular music reflects some of the fundamental techniques grounded in classical music - both of which can enhance the relatability of music that may otherwise seem totally irrelevant to the life of a tween, teen, or even young adult.

Teachers and arts organizations also mentioned the importance of choosing wisely when deciding what music to play for their young audiences, or what music students will be assigned to learn to play. Our survey respondents acknowledged that youth are most likely to be moved by and interested in classical music that is engaging to a young mind and heart. One arts organization "select[s] music beyond the 'classical standards' that everyone is sick of hearing, but still find[s] music that has an accessible tune, and then develops lovely harmony and variations and demonstrates the power of a non-electric group of instruments," suggesting that it is critical to present pieces that youth will find musically interesting, yet takes them out of their musical comfort zones. Further, according to one arts organization, many contemporary composers' music may be "more accessible since some of their work is intended to explore or create an emotional landscape as much as a sonic world," underscoring the importance of an emotional experience with classical music as much as a musical one.

When it comes to exposing kids to classical music, teachers and arts organizations also emphasized the importance of making it interactive; that is, along with providing insights about context, allowing for movement, art, emotional expressiveness, and games to be part of the listening or music-making experience help young people develop a deeper connection with the music. Perhaps this is why learning to play music, in addition to being a listener, can be a powerful tool when introducing youth to classical music. One teacher commented," Many love the music immediately & others grow to appreciate & enjoy after they've learned it & performed the piece or work," suggesting that a deeper appreciation may be fostered when youth learn to produce the music with their very own bodies. But even when students aren't equipped with the ability or resources to play classical music themselves, moving, dancing, and allowing the music to inspire other artistic creations are, according to our survey respondents, invaluable vehicles when exposing kids to classical music.

How do young people respond to classical music?

Teachers and arts organizations did report that the initial response of their youth audiences to classical music is generally positive. "Most are quite receptive," said one teacher, "especially with commonly-heard music as well as music connections with the present." Another teacher shared, "Initially, there were only a few who understood and enjoyed what I was doing, but after a while, they really started to get it. It's gotten to the point where they look forward to finding new pieces, and do so even when I don't assign them. I've had so many one-on-one conversations about random pieces from their exploring, and they're my favorite. ... I think I've made my mark."

But as explained earlier, this enjoyment depends on the informative, interactive nature of the experience. One teacher commented, "They enjoyed it because the listening activity was prefaced by movement, historical background, listening for certain melodic or rhythmic characteristics. I always gave them something concrete that they were listening for," highlighting the importance of setting the scene and making classical music an interactive, rather than a passive, experience when striving to cultivate enjoyment and appreciation.

In some rare cases, interest in classical music may even extend beyond the educational experience, as one teacher stated, "I know that my students listen to classical music outside of our lesson times because they frequently come to class with questions or comments about a piece they heard on the radio, at a concert or watched on YouTube." For another teacher, "Some of them have taken it upon themselves to seek out more classical music, after we exposed them to it. Some haven't, but still appreciate it when we are teaching them." Further, "They now appreciate it & some now go to symphony concerts and other performances. Some have joined youth symphony orchestras." And thanks to the internet, youth with a budding curiosity can do some exploring on their own, as one teacher relayed: "Many tell me they have searched the internet for more 'stuff like that one'."

Despite the positive in-the-moment response to classical music, teachers and arts organizations regrettably suggested that, except for the most serious music students, youth, too often, do not seem likely to cultivate an interest in classical music beyond the classroom, required repertoire, or occasional concert experience. As one teacher reflected, "I think most do not gravitate to classical music for their casual listening - but the fact that they are learning to play an orchestra music makes them more open than similar aged peers." Music in-the-home may also play a role, as one teacher explained, "Probably very little [interest] for the most part. A great deal depends on the parents and whether they are interested enough to take students to concerts or listen to music at home."

Why isn't classical music kids' music of choice?

We also asked teachers and organizations to venture their guesses as to why youth tend not to load up their ipods with Bach, Beethoven, or even modern-day composers. The proposed theories that emerged are not necessarily tested and proven by science, but they, nonetheless, are grounded in valuable experience and acute insights.

• Classical music is too stuffy. Performers dressed in formal attire; no clapping or noise of any kind until the very end of a piece; and music that seems to require a road map and exclusive knowledge to understand can, unfortunately, make for a rather unwelcoming, uninviting ambiance at classical music performances, especially for those who are reluctant or new to classical music. As one teacher pointed out, this may be the case, "Because we, as musicians, cater to older, wealthier, people. We've made classical music into something elitist and pretentious, even if we didn't intend to, and that's how younger audiences see it."

In a 2016 CNN commentary, Charlie Albright, a classical pianist and the 2010 recipient of the Gilmore Young Artist Award and the 2014 Avery Fisher Career Grant, explained that such stringent etiquette at classical music concerts did not emerge until the 20th century. Now, he reflected, "With this stifling atmosphere of rules and 'appropriateness,' it is no wonder that people (especially youth) are apprehensive and often uninterested in the whole idea of classical music. Somehow, classical music has become inaccessible and unwelcoming."

• School-based orchestra and band programs are dwindling. It was once the case that a majority of children, regardless of parental musical involvement or socioeconomic status, learned to read music and play an instrument. But today, according to a 2018 posting on Intellectual TakeOut, the percentage of people who are music literate has declined to around 11%. Schools once provided a variety of music-making opportunities for students: choirs, symphonic band, orchestras, marching band and instrumental or voice instruction. Today though, many of these offerings are no longer available or available only as extracurricular activities and not part of the school day, leaving students with the limits of music appreciation classes to be their narrow gateway into music beyond the mainstream.

Despite the inclusion of music as part of the standards for a well-rounded public school education in the U.S., school budgets often cannot support the expense of band and orchestra programs; thus closing one of the doorways to lifelong appreciation of classical music. Jon Weber of the CSO reflected, "Teachers' and administrators' prioritization is based, in part, on their first-hand experiences. If they themselves haven't had the opportunity to participate in a band or orchestra as a student, it is conceivable that they might not fully understand the value of these programs." As one teacher further explained, "The time allotted for music is very limited in the elementary years. Depending on the school's population, I only had 45 minutes with each class on a 6 to 8 school day rotation. So, the child sometimes only had 20 - 27 hours of music instruction per year."

All too often, as another commented, "Music is seen as an optional extra in curriculum whereas it is an essential part of children's response to beauty, creativity and imagination. It helps them get in touch with their soul." When public schools no longer provide instrumental or voice instruction as part of the standard school day, then learning to play music becomes something only accessible to the well-to-do, thus perpetuating the notion that classical music is only for the wealthy.

• Classical music doesn't hold a prominent place at home or in popular culture. Regarding classical music at home, one teacher reflected, "These days, classical music is not played at home so that the kids get to hear it on a regular basis. Even if the kids don't like the music, hearing it at home on a regular basis stays with them. They don't grow up with it so they don't really get an appreciation for it." Even when kids do express a potential interest in classical music, perhaps born of a school experience, one teacher explained, "With this generation, their parents are younger than the typical classical music fan. I find that my [students] would like to go see a concert, for example, and their parents are the ones more resistant."

In terms of popular culture, another pervasive force as youth develop their lifelong interests and inclinations, trends have shifted over time. In previous generations, as one teacher explained, "All the early Radio and TV programs, cartoons, movies and sitcoms had many classical themes interspersed in their episodes. And that generation developed an appreciation for the classics." Today, as many of our survey respondents contended, classical music is not nearly as embedded. Further, today's "Popular music industries are big and flashy. Living artists can promote their music a lot more than dead ones can," suggesting that the lack of presence in popular culture, along with limited classical music promotion in popular culture, may be partially to blame.

• Young people may lack some of the necessary personal resources to fully embrace classical music. For example, as one teacher colorfully commented, " I believe that just as fine wines and liqueurs tend to be enjoyed more by mature palates than those with less experience, the intricacies and nuances found in classical music tend to call to those with more life experience and broader horizons." Besides limited life experience, youth may also have limited attention spans that do not lend themselves to listening to lengthy classical pieces. One teacher offered, "As we age, we slow down as well. Kids are almost too energetic to sit still long enough for a classical music concert. That's because our current society's life is coming out infull blast very fast. Unfortunately, attention spans are shortening." Also, many potential classical musicians or listeners may lack the financial resources to fully avail themselves of an art form that often comes with a price tag. For as one teacher reflected, "Taking lessons costs money. Instruments cost money. Concert attire costs money. Concerts cost far too much money. I feel that there's so many kids who could be interested in and/or have a talent for the genre if only they could afford to be a part of it."
• Classical music may not embody what youth look for in their musical experiences. For one thing, "Youth want to be engaged and listened to. This rarely happens at a classical concert," as one teacher explained. Additionally, "... the art of listening to music is not done today - the beat seems to be the thing. Also classical music is thought [of] as boring and too hard to perform. Old fashion." Further, "[Classical music is] more relaxing I suppose, and thought provoking. It allows you to sit and meditate if I may use that word. That's what older people want or feel they need. Younger ones are more into other genres of music like Hip Hop and rock." Perhaps this is because, as one teacher put it, "Our society is geared toward loud & fast with flashy costumes & lights. Classical music doesn't always embrace that." While new classical music emerges all the time, much of the classical music most often learned and performed is from decades, or centuries, ago. If what is "outdated" seems "uncool," and this tends to be the mindset of the younger generation, then it's no surprise that classical music can be a tough sell with many kids and young adults.
• Classical music may not be immediately relatable for a younger audience. As one teacher explained, "The age of immediate thrills is no secret. As telephones, typewriters, CDs become extinct; it seems inevitable that classical music would be considered a dinosaur. It is not as accessible to ears that are used to hearing high pounding, non-melodic, rhythms." Youth may also find it difficult to see themselves reflected in this music that seems complicated and unfamiliar, as one teacher commented, "The composers are usually dead, the concerts are very formal, and young people think they cannot relate to their ideas - though they can!" That said, despite the diversity within our society today, classical music, by and large, remains very "white" - composers, performers, and audiences. Non-white youth may be more willing to give classical music a glance if they saw their own faces reflected in the notes and on the stage. As Jon Weber shared, "There's a greater need for culturally-relevant education, so it is appropriate for educators [and arts organizations] to really consider what is the content that is most accessible and appealing to students."

What can be done?

So, where do we go from here? Giving up on today's youth altogether seems unthinkable and inappropriate; for while not within the scope of this article, exposure to classical music has far too many potential benefits for youth to abandon the cause entirely. Besides the potential positive effects that playing and listening to classical music may have on the developing minds of young people, as discussed in VSM's previous article on the effects of music on the brain, appreciating classical music may also help youth to broaden their world view to understand the past, embrace the present, and prepare for a thriving future - a future where classical music, which has already stood the test of time, continues to be treasured and valued for its depth of artistic merit.

Turning young people into instant and passionate classical music fans may be a tall order. Rather, the most productive approach for teachers and arts organizations may be to lay the groundwork for youth to continue developing an appreciation for classical music over time. After all, if it is true that a more finely-tuned mind, ear, and heart are needed to be able to fully appreciate and enjoy classical music, perhaps today's youth will, in years to come, find themselves with the very depth of life experience, coupled with lifelong, carefully-guided exposure, to find themselves buying tickets to symphony concerts, downloading classical recordings, and even re-creating and creating the classical music of the past and future.

There is much food for thought in what teachers and arts organizations shared in our survey that may help guide future endeavors with youth.

Additionally, perhaps classical music events could be made more welcoming to all, especially those not well-versed in classical music "etiquette." maybe, sometimes, clapping in between movements can be OK. Perhaps healthy, relatively mess-free snacks can be allowed in concert halls. And as one teacher suggested, "Show everyday people playing - not always in tuxes." Make musicians and conductors seem more relatable and down-to-earth with more casual dress on stage, introductions of on-stage personalities to the audience, pre- and post-concert meet-and-greets with performers, etc. And why not take advantage of technology to the fullest? An engaging social media presence might reach potential audience members of all ages, and interactive in-concert opportunities, like real-time program notes for smart devices, might help a younger crowd feel more connected to what they're hearing and seeing before them. Advertise concerts, instrumental or voice lessons, and all else classical music with the target audience in mind by highlighting what they'll enjoy and appreciate in the experience - with the knowledge that this hoped-for audience may need a little bit of convincing at first.

Conclusions

With much hope, one arts organization believes, " The more opportunities kids have to interact with classical music in different ways, the more satisfaction they get from their accomplishments, the more chances they have to fall in love with the art form. And then, they will be there for life." Perhaps a big part of the solution is simply allowing kids to have fun with classical music. "When a student is having fun with a piece, it can be a gateway towards choosing to experience more music from that genre or time period," as one teacher stated. We may also need to simply be patient. "Society always changes and pendulum shifts, maybe the current youth will also end up loving classical at a later age whether they do or not now." Undoubtedly this is our hope, and we as teachers, parents, and arts organizations must continue to make it part of our mission to nurture, cultivate, and grow the next generation of classical musicians, listeners, and creators.

* Generation X is a term used to describe those born roughly between the early 1960s and late 1970s, after the baby boomers and before millennials.

** Generation Y is a term used to describe those born during the 1980s and 1990s.

Albright, C. (2016). Classical music is dying... and that's the best thing for classical music (opinion). CNN [link]

Americans for the Arts (2013, June). Local arts branding on national stage: Are you effectively playing your role? [link]

Henschen, J. (2018). The tragic decline of music literacy (and quality). IntellectualTake-Out [link]

National Association for Music Educators (2018). Everything ESSA

Sunday dialogue: Is classical music dying? (2012, November 25). New York Times [link]

Why is classical music unpopular with the youth? (2015, November). Talk Classical [link]

Contributors to this article: Jon Weber, Stephanie Lewis, Sofia Ferrari.