[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]
Re: [ARSCLIST] Recording rates for musicians.
----- Original Message -----
From: "Steven Smolian" <smolians@xxxxxxxxx>
> ----- Original Message -----
> From: "phillip holmes" <insuranceman@xxxxxxxxxx>
> To: <ARSCLIST@xxxxxxxxxxxx>
> Sent: Wednesday, October 04, 2006 11:17 PM
> Subject: Re: [ARSCLIST] Recording rates for musicians.
> > That brings to mind a truly great song that surely will go down the in the
> > annals of songdom with the likes of any Schubert Lieder: "A Country Boy
> > Can Survive". And there's the "we'll put a boot in their ***, it's the
> > American way" song. But seriously, I don't disagree with you. I'd place
> > great jazz and blue grass musicians on a pedestal with great classically
> > trained musicians. Many "popular" and "folk" musicians don't have "chops".
> > They are creative. Yes, you are correct that there is an elitism to
> > "classical" music and musicians, but they work a hell of a lot harder than
> > most popular musicians. I think that's why the boys (and girls) don't get
> > stoned before playing Le Sacre or Zarathustra.
> > Phillip
> > Steven Barr wrote:
> >> ----- Original Message -----
> >> From: "phillip holmes" <insuranceman@xxxxxxxxxx>
> >>> Agreed, and most musicians (speaking of classically trained
> >>> instrumentalists and vocalists) have already made adjustments. Most are
> >>> teachers first, professional musicians second. This is the way it was
> >>> for most of recorded history anyway. Bach didn't make a living playing
> >>> organ and harpsichord, and he didn't get paid union scale. Musicians
> >>> had a pretty cushy deal going while there were wealthy benefactors who
> >>> cared, but the world's tastes have changed for the worse (IMO--not a
> >>> humble opinion either). Also, I don't think that recording contracts
> >>> kept these orchestras going. Most didn't have contracts. It was local
> >>> community involvement, the chamber of commerce types, wealthy people
> >>> with time on their hand, etc.....
> >> Interestingly, this approach seems to depend on one important social
> >> opinion...that, somehow, "classical" music is innately superior (at
> >> least in the sense of the "elite" preferring it) to other forms of
> >> music. This means that a community, in order to be a "respectable"
> >> community (in the sense of upper-class = respectability) must have
> >> classical musicians, classical performances, and if at all possible
> >> a classical ("symphony") orchestra!
> >> One result was that, at least in the late-nineteenth/early-
> >> twentieth centuries, classical artists were spared the sort
> >> of social-class demotion that applied to most other musicians
> >> and stage performers (and that still seems to be true, though
> >> less noticeable, in this day and age!).
> >> It is also interesting to note an opposite development! In this
> >> day and age, particularly in the USA, country & western music has
> >> been adopted as what might be called "the official 'working class'
> >> musical genre!"
> >> Steven C. Barr