Western Music in A Singaporean

Context
Week 3 The Concert-Going Culture in
Singapore
 Western Music in A Singaporean Context

Dr Marc Rochester

The Concert-Going Culture of Singapore

Despite research showing that more people than

ever are engaging with classical music privately,
this is not translating into the concert hall, with
classical music audiences still declining. While not
advocating the cessation of traditional concert
presentations, there is a clear need for more
consideration to be given to alternative, new and
innovative presentations of classical music in order
to retain audiences and for the genre to remain
relevant in this century.
Sonja Schebeck (http://charodyproductions.com/about/research)
 Western Music in A Singaporean Context

Dr Marc Rochester

The Concert-Going Culture of Singapore

Current research indicates that despite declining
classical concert audiences, actual interaction with
classical music is alive and well within the general
population. Wolf (2006) found that while up to 15%
of Americans said they had a close or moderately
close relationship with classical music, very few of
these actually attended concerts, in fact the
preferred venue for classical music was the car,
followed by the home (Wolf, 2006 p. 31). Kolb
(2001) and Baker (2000) identified similar trends
in Britain, as potential audiences did not deem the
 Western Music in A Singaporean Context

Dr Marc Rochester

The Concert-Going Culture of Singapore

While a strong preference for listening to classical

music was found across ages and ethnic groups in
the UK (including the finding that 40% of 18-24
year olds listened to classical music), the decline
in attendance was attributed to the increase in
quality of recordings and dislike of the concert
setting (Kolb, 2001, 4).
 Western Music in A Singaporean Context

Dr Marc Rochester

The Concert-Going Culture of Singapore

Arthurs and Radbourne (2007) identified significant

barriers to audiences attending classical concerts,
which included a dislocation between audience
and performer, competition from other forms of
entertainment, recording technology and that
current presentations are too demanding on the
audience. The idea of classical concerts as elitist
and exclusive is still prevalent, and perceived lack
of knowledge often acts as a barrier to attendance,
as newcomers do not feel included (Dobson, 2010,
 Western Music in A Singaporean Context

Dr Marc Rochester

The Concert-Going Culture of Singapore

Views of an audience: Understanding the

orchestral concert experience from player and
listener perspectives
Stephanie E. Pitts, Melissa C. Dobson, Kate Gee and
Christopher P. Spencer
University of Sheffield, UK
 Western Music in A Singaporean Context

Dr Marc Rochester

The Concert-Going Culture of Singapore

An orchestral concert at its best has a sense of
spectacle and occasion. Often taking place in one of
the more formal buildings in a city, and representing
a costly and therefore considered night out for regular
attenders, going to hear an international symphony
orchestra should be a memorable musical event. The
music heard might be challenging or familiar, but
there will be an expectation of quality a trust in the
professional musicians to be committed and
passionate about their work, and to the concert
promoters to provide value for money and a
 Western Music in A Singaporean Context

Dr Marc Rochester

The Concert-Going Culture of Singapore

An area where the interests of audience members,

players and management intersect and not
always comfortably is in the choice of
repertoireA balance to be struck between
providing sufficient challenge for the players and
promoting programmes for which an audience can
be guaranteed.
 Western Music in A Singaporean Context

Dr Marc Rochester

The Concert-Going Culture of Singapore

Audience members differ in their level of prior

musical knowledge, and in the extent to which
they are willing to be challenged by new
repertoire: previous studies have suggested that
frequent attenders are most satisfied by concerts
which introduce them to something new, or which
they find musically challenging, while less frequent
attenders would prefer to hear familiar and easily
recognisable tunes
 Western Music in A Singaporean Context

Dr Marc Rochester

The Concert-Going Culture of Singapore

Sociological theorists have challenged the notion of

high- and low- brow listening in recent decades,
proposing a category of cultural omnivore
(Peterson & Kern, 1996) which marks a shift in
access to classical music, and in the geographical
and social mobility that brings listeners of differing
musical tastes into greater contact with one
another than in previous generations.
 Western Music in A Singaporean Context

Dr Marc Rochester

The Concert-Going Culture of Singapore

It has been well established in previous research,

including CBSOs own internal market research,
that audiences for classical music are typically
professional or retired, in the over- 50 age bracket,
relatively affluent and educated, and white middle
class (OSullivan, 2009; Kolb, 2001).
 Western Music in A Singaporean Context

Dr Marc Rochester

The Concert-Going Culture of Singapore

In Singapore is there evidence of high and low

brow delineation?
Is there a Symphony 92.4 factor
Do Pops concerts and Family Fun concerts attract
larger audiences
Is the Eine Kleine Nachtmusik syndrome as strong
as the Lang Lang syndrome?
Western Music in A Singaporean Context

Dr Marc Rochester
The Concert-Going Culture of Singapore
Audience demands and expectations
To learn, to enjoy or to participate
Do they expect to leave enriched,
entertained or educated
Passive involvement
Intellectual involvement
Active involvement
Western Music in A Singaporean Context

Dr Marc Rochester

CONCERT GOING CULTURE

Audience demands and expectations

LEARNING
Do they read the concert (programme)
book
Do they attend pre and post concert
talks
Do they actively seek out musicians by
the stage door
Do they prepare for the concert by
reading/listening
 Western Music in A Singaporean Context

Dr Marc Rochester

The Concert-Going Culture of Singapore

Interaction with the orchestra and musicians.

Is Singapore more likely to foster close ties between
performers and listeners?
Do people feel a sense of loyalty to their
orchestra/performers?
Is there a sense of watching friends at work rather
than merely observing professionals?
Is this constructive or destructive to the performing
environment?
Western Music in A Singaporean Context

Dr Marc Rochester

The Concert-Going Culture of Singapore

How much does it all cost?