They’ve Been Slicing And Dicing Classical Music For Awhile Now

by:

Joe Patti

Recently in The Guardian, Tom Service suggested the classical music exponents stop trying to misrepresent the nature of the genre. He feels it does the music a disservice to try to create appeal by packaging it into short snippets when it requires a long attention span.

…it’s no wonder that classical music is in a psychological state of defensiveness and a perennial struggle for relevance, and ends up trying to do things on terms that are set by the streaming companies and social media, not by the art form or the artists themselves.

[…]

The embarrassment comes in what can all too easily happen when classical music tries to get down with the kids with new formats. Visuals! Apps! Short excerpts instead of whole symphonies! All of which can patronisingly say: we’re just like the pop cultures you love: we’re groovy too! With, er, our public subsidy and private sponsorship and expensive instruments. No. You’re not.

I take his point about organizations allowing social media to dictate the terms of how classical music is delivered and consumed rather than letting the art form be the art form.

However, the use of visuals and short excerpts has been around a long time. Looney Tunes was integrating classical music into cartoons back in the 1940s and 50s. Blue Danube Waltz in Corny Concerto in 1943 and What’s Opera Doc in 1957. (I am not saying these are the first time theses pieces were in a cartoon.)

To be clear, I was not alive in 1940s or 50s but regularly consumed these cartoons so multiple generations were exposed to the music in this manner. Plus many of these compositions have appeared in movies as short snippets for closing in on a century. I find the suggestion that just because the delivery mode is a cell phone this combination of short snippets with engaging visuals is problematic to be a little disingenuous.

Yes, people listening to the whole composition it came from may find the unfamiliar parts to be a little boring. But people who are familiar with those sections can find their attention wandering as well.

The music isn’t so sacred and special it can’t survive being chopped up and slid into popular entertainment. As many like to remind us, the composers were rock stars of their day after all.

That said, arts organizations having a handful of programs every year targeted to appeal to younger audiences and then reverting to their usual programming has been a problematic bait and switch for decades. If people are creating visuals that misrepresent the baseline experience of a frequent attendee that is an issue.

It is valid to criticize organizations for promising one thing and not adjusting their programming to include at least a respectable part of that promise.

Solo Numbers Are Growing

by:

Joe Patti

NPR had a story earlier this month about theaters’ efforts to appeal to solo attendees. Apparently the Broadway League has noted that solo attendance during 2024-2025 season was double previous years.

The NPR story focuses mostly on the Solo Seat program at San Francisco’s Orpheum Theatre being run by ATG Entertainment that provides a discounted orchestra ticket, a pre-show mixer with other Solo Seaters, and a complimentary drink.

However, they emphasize, this is not a singles night:

“This is not ‘singles night,'” said Kane. “If a meaningful connection happens, that’s a bonus. But at the end of the day, it’s really about being comfortable going solo to a show and enjoying it with people who have that same experience.”

The goal of breaking down the stigma attached to attending events alone is mentioned a numbers of times by different people in the story.

Given the implication that this may be a growing social trend, it is probably worth beginning to consider how you might market your organization to create a greater appeal and sense of welcoming for solo visitors.

Securing Music Rights Is The Toughest Part Of Olympic Athletes’ Routines

by:

Joe Patti

Entertainment lawyer Gordon Firemark and Tamera Bennett recently did a podcast episode addressing some intellectual property and copyright issues which had been in the news. One of the problems they covered was the controversy over music licensing rights during Olympic skating and other routines.

This isn’t a new issue in 2024 I made a post about the same problem cropping up during the 2022 Winter Olympics in Beijing. The problem is that the skaters and others hadn’t secured the correct level of rights. What is okay during an untelevised finals competition isn’t sufficient for a routine broadcast internationally.

Firemark and Bennett suggest that surely NBC secured the rights, but in an article I cited in my 2024 post, skaters were told NBC would likely mute the music during their routine broadcast via their streaming platform. It wasn’t muted and NBC and the skaters were named in a lawsuit.

Firemark notes that up until 2014, the Olympics required public domain music but in an attempt to appeal to a younger audience, they began to encourage the use of pop music. Unfortunately, they apparently left it to the athletes to secure all the appropriate rights. Listening to Firemark and Bennett, they don’t seem to be 100% certain about all the categories that would need to be covered (public performance for broadcast, public performance in the venue, arrangement license if you are using a medley, synchronization license, grand rights were all mentioned), so it isn’t surprising the athletes didn’t get it right.

Near the end of the segment, they suggest that in the future athletes may choose to use AI generated music. Bennett suggests there might still be a problem if the music too closely resembles the pieces the AI was trained on.

Who Owns The Photo You Composed In A Video Game?

by:

Joe Patti

The Conversation recently had an article tangentially related to the concept of AI art. In this case, it is players of video games creating art out of the virtual landscapes in which they play.

For a couple decades now, video games have offered players the opportunity to pause things and grab a picture. Among the basic features tend to be removing elements of the user interface so the view won’t be obstructed by buttons, etc. In other games, the player gets a camera object with which to frame things rather than just perform a screenshot. The article mentions Red Dead Redemption 2, which is set in the 19th Century American West has an era appropriate 1898 Kodak camera available in game.

Other games allow players to tweak weather and lighting sources to get the picture they want.

While I don’t play a wide variety of video games, I can attest to the beauty of the game worlds the artists create. One game I played allowed players to use hang gliders. I would go to the highest elevation I could find and glide down just admiring the night sky or sunrise/sunset.

More recently I was playing in the alpha-stage of a game when the developers started to upgrade lighting elements and was amazed at how accurately the sunlight progressed along the landscape as the sun rose from behind the mountains. You could be riding your mount and transition from light into shadow and back or just sit still for awhile and eventually have the light pass over your spot.

So it may not come as a surprise that people are assembling art exhibits based on “photos” they have taken in game. Some have focused on images from places they have glitched into like walls, rocks, trees, etc. Not the most attractive views, but sometimes very amusing. As some players can attest there are times when you might fall through the ground watching the underside of fields, mountains, and houses recede into the distance above you.

This practice of players taking photographs of other people’s art work from within the game raises questions about who owns the copyright. Back in 2014 there was the question about whether Bradley Cooper or Ellen DeGeneres owned the copyright on a picture Cooper took with DeGeneres phone. What is the situation when the person who designed the world also designed the camera that took the picture?

The article mentions a situation where an artist assembled and manipulated photos other players took into an exhibit. There was some suggestion that only the game developer had standing to press a copyright claim against the artist for the use of its intellectual property.

This is going to be one of the situations, among many to come, (including a case about AI created art the Supreme Court heard a week ago) that will likely cause a shift in the definition of copyright ownership.

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