Foreword

Music, as a living art form, will always be subject to change and development that in any one moment could be experienced as “turmoil”. For those of us involved in classical music there is a lot of change about: the habits of audiences in terms of ticket-buying and the way they listen to recorded music; how new audiences discover classical music and in what settings; the constant promises and opportunities offered by new technology that can be interpreted as threats to the status quo or whose possibilities may simply not be understood; the fact that those involved in classical music have themselves to convince younger audiences that there is something there of interest—audiences no longer necessarily come armed with knowledge and deep ...

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