So, the old model of music is decaying.
Symphony orchestras, record labels, universities–they seem to be declining. The reasons for this are multitudinous, and arguable. Don’t get me wrong–there are many exceptions to this state of decline, but as I hear of strike after strike, financial woe after woe, I thought I’d type up what seems to be my summary of the efforts to mitigate this situation:
The goal: to make a living off of music–ideally solely “art” music and its direct activities.
Prerequisites: a large amount of money that can be distributed to the musicians for their activities (the finances of this economy).
Where does the money come from? people making money in their jobs and services outside of music.
How does the money come to the musicians? the people who earn the money pay the musicians for music and music services/activities.
Why do the people pay the musicians? The people pay them because they like, desire, and find relevant, the art that the musicians create.
How do musicians achieve this new way: make music with which outside people will want to be involved.
What if people don’t like the music that musicians make?
Can we convince the people otherwise?
If you believe yes, then: market, promote, educate*.
If you believe no, then: conform to what the people want, or give up trying to make money from music.
*This is where the new model comes in. The old model has been doing this for a long time, but we need to evolve the old model to something that works better at marketing, promoting, and educating (with the ultimate goal of making more music, getting it heard, and ensuring that musicians can make a living on music and its direct activities).
What can we do that the old model hasn’t done, and upon what can we innovate?
- Technology’s use
- Social structure/empowerment/education
- Going smaller, not bigger
- Slimming down the administration
What are some of the characteristics of the new model:
- Educate the youth: open minds and the potential for future growth make this a long-term asset that must be utilized.
- Take advantage of technology: take current technologies (eg. streaming of music, digital downloads, widespread internet access worldwide, mobile device proliferation) and exploit them to generate revenue for musicians.
- Musicians as administrators: musicians take control of their own careers, and eliminate the middlemen (eg. administrators in ensembles, promotion directly by the musicians, recruitment of talent done by the musicians in an organization)–be democratic amongst musicians in doing all of the work to sustain yourselves in an ensemble, and do it yourself in all the capacities in which you serve (eg. as a soloist, composer, audio technician, etc.).
- Challenge the power: every musician must be an advocate for music, or the whole structure will fail (weakest link in the chain breaks the chain under stress)–we need strong lobbying, fundraising, advocacy, and political sway. Become politically involved in promoting music.
- Look at ourselves and re-examine our musical DNA: find ways to connect our musical DNA with the DNA of the people listening–compromise without giving up all merit on our end and without being stoic to the people who are paying for our music (eg. new concert venues, embracing new media of presentation, merging popular and art music more).
- Silence is for music, loudness is for making sure we can have silence: don’t back down from any fight over music’s future; be loud, proud, and confident of music’s essential role in society and human life, as one of the pinnacles of great local, national, and worldwide societies. Through being loud advocates we can promote our music, no matter how quiet the art itself is.
- Communication is key: don’t do everything in a corner; talk with other musicians across vast spans of artistic and geographic areas. Utilize the tools of the information age to communicate and organize with musicians worldwide. Never be afraid to share ideas.
The time is now to fight for music’s viability!
This is much easier said than done, but saying it is a way to start.
What do you think of this synopsis? Is it accurate?