The role of classical music
...the defense of the county. Leonard Bernstein responded to the question "What have classical music done to defend your country?" by saying that "I've made it worth defending”. He continues to explain that it not only provides pleasure, but in some cases for some people actually makes life worth living or at least provides some dignity or moments of escape. That is not meaningless. As somebody else says, the fact that it gives us pleasure to make music is moot. Things which are meaningful do not necessarily have to be painful. Classical Music in America has spent decades defending itself from the charge of being elitist and white in a multi-ethnic society. Still, the European art form has firmly taken root in the New World and the overwhelming majority of classical music critics here believe that multiculturalism is not the enemy but the future of the field. Meanwhile, the critics themselves remain predominantly male, white, and middle-aged - in short, the very profile of the average classical listener. These are some of the key findings in this, the first ever attempt to survey the demographics, work situations, ethical beliefs and tastes of music critics in the U.S. and Canada. This collaborative effort is an attempt to understand the thinking of those whose opinions arguably have the most influence in shaping public perception of a field with deep and enduring roots and a vibrant, if unpredictable. This clearly explains why classical music cannot defend the country due to the clear cut racial division. An article by Douglas McLennan on the Newsweek reflected on the reasons for the present sad state of classical music in this country declares a simple but fundamental truth, it shows that the main reason why classical music is no longer on the menu of cultural literacy is that somehow it lost the critical mass of a critical community that listens , talks and writes about music as though it matters and where there are frequent debates, multiple judgments and competing ideas to keep things energized. It’s difficult to build artistic consensus that keeps renewing itself if you lack critical voices. Without that consensus, it's difficult to argue that classical music deserves a place at the table. It might seem hard to believe, but there was once a time when classical music audiences could settle into upholstered chairs and leave behind the battles that raged just outside the concert hall walls. That era is now long gone. Like literature and the visual arts in the previous century, classical music has come under the harsh gaze of a new breed of cultural critic, whose investigations range far beyond counterpoint .Every civilization is known by its culture, and jazz is America’s greatest contribution to the world it is our classical Music. Jazz is spontaneous, honest, and natural, and it is a celebration of life itself. In my own opinion American classical music theme has greatly been overcome by the uprising hip-hop which culturally doesn’t not give the defense of a country and this can be related to Bernstein's statement. Classical Music in America is a pioneering history by an award-winning scholar and leading authority on American symphonic culture. Joseph Horowitz argues that classical music in the United States is peculiarly performance-driven, and he traces a musical history rising to its peak at the close of the nineteenth century and receding after World War I. He defines the decades of ascending as the quest for an American compositional voice, painting vivid vignettes of America's most celebrated performers and such path breaking institutions as the New York Philharmonic and the Metropolitan Opera. He explores a century of decline characterized by illustrious orchestras, conductors, and virtuosos, mostly foreign born, and in a final chapter he exposes a crisis of leadership and suggests new musical directions and significance in our postmodern age. He continues to write that the American pride and significance was portrayed in the classical performance in the world war era. Unlike Bernstein this writes shows a great significance in the role of classical music towards the defense of the country but despises the decline in the classical interest by the young generation and fears the spirit may not continue. Other than America a lot of other countries have used classical music to defend their identity. The situation today of classical musicians in Cuba has greatly improved and significantly defended the country in the nature of believes and practices as portrayed by Camerata Romeos a cubain composer and performer of classical music.” But in the last few years there has been this phenomenon that as the social crisis deepened in Cuba after the fall of the socialist camp there was a turning of the youth toward spirituality enriching classical music and concerts. It was a massive thing. “She describes a people’s desire and turnaround towards classical music, For example, to describe the turnout at a concert held at the time of turnabout she quotes” We had to put on extra performances, because people were breaking down the doors of the National Theater to hear Bach. It wasn't to hear the Beatles; that's normal. It was to hear Johann Sebastian Bach at the National Theater.” The attendance was young people, people off the street, professionals not the regulars. This was a need that arose of a sudden to consume art, to fill a void, to enrich the spiritual life of the individual, and everyone turned out for the concerts. This shows a great pride and association with the country’s classical music. As the traditional sounds of Africa embrace classical music, the true meaning of it is revealed as music following traditional principles and intended to be of permanent, rather than ephemeral value" The musical sounds of Africa have stood the test of time and tell of the ancient beauty and values of this continent, and embody the spirit of what is meant by "classical" music. Our ...