The music industry is not what it used to be. Headlines often despair over the erosion of revenue now that downloads are replacing CD sales, and online file sharing often eliminates the need to spend any money. Any media business is vulnerable to technology changes and consumers switching to competing forms of entertainment, but I have to wonder if music with mass appeal that could bring in big sales is even being produced. Where actually is musical talent hiding?
Although the old stereotype of music teachers and tutors reflects a stodgy grown-up teaching elementary school-age children how to play the violin or tickle the ivories, in reality there are many opportunities for high school and college students. Younger children often respond better to people closer to their age. The teen is also closer in time to learning music theory and remembering different tricks and tips on how they learned to play their instrument of choice.
For parents seeking a music teacher for their youngsters, an older student is less expensive than a professional and can pass on plenty of valuable information that is sufficient for learning until they know whether their child is serious about music. Not only do the older student teachers enjoy the money, they have additional experience to put on applications for college scholarships.
Back in 1967, when the Jimi Hendrix Experience had its first album Are You Experienced? On the British charts at number three, the Beatles at the same time had the number one spot. Can you possibly image such revolutionary albums being out today? And at the same time? Where is the music talent hiding - or languishing - and why does it not seem to be breaking out and catching on with mass audiences?
I know that times have changed because of the internet. Bands are going directly to music listeners with their own websites and pages on MySpace. This is absolutely fantastic because it allows anyone to throw his or her hat in the ring and get noticed. But how noticed do they get?
Certainly some bands reach thousands of listeners this way and are able to cultivate a modest income, but are the bigger record labels scouring the internet for talent to produce for a mass audience? It does not seem like it to me. I suspect that many producers just want to coach some cookie-cutter talent, apply it to a formula, and expect people to pay $20 for a CD. I guess that no one wants to invest in recruiting genuine creative gift and pay for plenty of studio time to allow genius to flourish.
When I was growing up in the 1980s, I would listen to the radio or watch MTV. When I heard something I liked, then I would probably buy it at the store. As I recall, MTV pretty much stopped showing music videos in the early 1990s. As for radio, most stations these days play oldies, classic rock, and light mixes. This is a profitable formula, but how is new music going to be marketed to a mass audience unless it is presented to a mass audience? When the Beatles were exploding on to the American scene, they were on the radio.
Teens with promising talent in music and who have demonstrated musical interest and have taken advanced training or have involved themselves in tours, camps and tutoring programs are often the first to receive music scholarships for college.
Although the old stereotype of music teachers and tutors reflects a stodgy grown-up teaching elementary school-age children how to play the violin or tickle the ivories, in reality there are many opportunities for high school and college students. Younger children often respond better to people closer to their age. The teen is also closer in time to learning music theory and remembering different tricks and tips on how they learned to play their instrument of choice.
For parents seeking a music teacher for their youngsters, an older student is less expensive than a professional and can pass on plenty of valuable information that is sufficient for learning until they know whether their child is serious about music. Not only do the older student teachers enjoy the money, they have additional experience to put on applications for college scholarships.
Back in 1967, when the Jimi Hendrix Experience had its first album Are You Experienced? On the British charts at number three, the Beatles at the same time had the number one spot. Can you possibly image such revolutionary albums being out today? And at the same time? Where is the music talent hiding - or languishing - and why does it not seem to be breaking out and catching on with mass audiences?
I know that times have changed because of the internet. Bands are going directly to music listeners with their own websites and pages on MySpace. This is absolutely fantastic because it allows anyone to throw his or her hat in the ring and get noticed. But how noticed do they get?
Certainly some bands reach thousands of listeners this way and are able to cultivate a modest income, but are the bigger record labels scouring the internet for talent to produce for a mass audience? It does not seem like it to me. I suspect that many producers just want to coach some cookie-cutter talent, apply it to a formula, and expect people to pay $20 for a CD. I guess that no one wants to invest in recruiting genuine creative gift and pay for plenty of studio time to allow genius to flourish.
When I was growing up in the 1980s, I would listen to the radio or watch MTV. When I heard something I liked, then I would probably buy it at the store. As I recall, MTV pretty much stopped showing music videos in the early 1990s. As for radio, most stations these days play oldies, classic rock, and light mixes. This is a profitable formula, but how is new music going to be marketed to a mass audience unless it is presented to a mass audience? When the Beatles were exploding on to the American scene, they were on the radio.
Teens with promising talent in music and who have demonstrated musical interest and have taken advanced training or have involved themselves in tours, camps and tutoring programs are often the first to receive music scholarships for college.
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