What about the desire to make an “aesthetic investment”—that is, to put in some work upfront in order to reap the rewards of a high-quality experience later on? (Why, I wonder, are people so quick to dismiss the possibility of such rewards?)
As regards signaling as a “common” motivation: maybe this works in continental Europe, or in certain idiosyncratic communities where this kind of music enjoys social prestige. In the mainstream of American society, however, an interest in art music buys you little to no status (particularly as compared with a corresponding interest in similarly elevated forms of other arts, such as literature or painting). To be a devotee of this kind of music is to be a nerd of one of the worst kinds. (It’s even considered un-American: witness Bill Clinton’s remark that “Jazz is America’s classical music”.)
You know the cultural asymmetry that C.P. Snow famously described, wherein “well-rounded” educated people are expected to know about more about the humanities than the sciences? Well, it’s dwarfed into insignificance by the asymmetry that exists between what “cultured” people are expected to know about music versus what they are expected to know about other arts.
So be extra cautious when positing status-signaling explanations for the behavior of art music devotees, particularly in America.
I’ve also wondered about the implicit assumption lots of people have that if music were going to yield extreme degrees of pleasure for them, then it would do so without much effort on their part and in quick order. I’ve also noticed the assumption you touch on that because all non-deaf people have a pair of working ears and have known how to use them since childhood, they are all equally capable of judging different types of music and recognizing that there they’re basically all the same, like different flavors of ice cream.
I think you’re spot on about classical music and status in America, at least in my neck of the woods. I work at a well-known company in the SF bay area that has a lot of very smart and very well-educated people, and it would be embarrassing for me to admit at work that Bach is my favorite musician or that classical music is my favorite music. It would be viewed as pathetically old-fashioned and uncool.
ETA: I think the status thing with regard to classical music in the SF area is generational. I’m in my thirties. If I and my peers were a generation older, then I think classical music would be regarded more positively and be less stigmatized. When I go to a classical music event, I see mostly people who are at least a generation older than me. In my workplace, the median age is probably something like 28-34, so the classical music listeners are of my peers’ parents’ generation. To be honest, I completely agree with the accusations of signaling for the vast majority of people you see at classical music events around here. Few of the (mostly older) people I see at concerts seem like they’re there for the music—they spend their time dozing off, fidgeting with things, people gazing and being gazed at, counting the minutes till intermission and then rushing out at the end without wanting to hear the encores. People my age and younger at concerts seem much more sincere, even if there are so few of them.
Here’s a couple more: desire to learn an instrument (because training often uses mainly classical repertoire), or the recommendation of someone trusted. One could argue the latter is about status, but I don’t think it always is.
Wait, the only reason? Really? I’ll certainly admit it’s a pretty common reason.
Okay, you’re right, that was an overstatement. There could be boredom, or course requirements, or curiosity, or things like that.
What about the desire to make an “aesthetic investment”—that is, to put in some work upfront in order to reap the rewards of a high-quality experience later on? (Why, I wonder, are people so quick to dismiss the possibility of such rewards?)
As regards signaling as a “common” motivation: maybe this works in continental Europe, or in certain idiosyncratic communities where this kind of music enjoys social prestige. In the mainstream of American society, however, an interest in art music buys you little to no status (particularly as compared with a corresponding interest in similarly elevated forms of other arts, such as literature or painting). To be a devotee of this kind of music is to be a nerd of one of the worst kinds. (It’s even considered un-American: witness Bill Clinton’s remark that “Jazz is America’s classical music”.)
You know the cultural asymmetry that C.P. Snow famously described, wherein “well-rounded” educated people are expected to know about more about the humanities than the sciences? Well, it’s dwarfed into insignificance by the asymmetry that exists between what “cultured” people are expected to know about music versus what they are expected to know about other arts.
So be extra cautious when positing status-signaling explanations for the behavior of art music devotees, particularly in America.
I’ve also wondered about the implicit assumption lots of people have that if music were going to yield extreme degrees of pleasure for them, then it would do so without much effort on their part and in quick order. I’ve also noticed the assumption you touch on that because all non-deaf people have a pair of working ears and have known how to use them since childhood, they are all equally capable of judging different types of music and recognizing that there they’re basically all the same, like different flavors of ice cream.
I think you’re spot on about classical music and status in America, at least in my neck of the woods. I work at a well-known company in the SF bay area that has a lot of very smart and very well-educated people, and it would be embarrassing for me to admit at work that Bach is my favorite musician or that classical music is my favorite music. It would be viewed as pathetically old-fashioned and uncool.
ETA: I think the status thing with regard to classical music in the SF area is generational. I’m in my thirties. If I and my peers were a generation older, then I think classical music would be regarded more positively and be less stigmatized. When I go to a classical music event, I see mostly people who are at least a generation older than me. In my workplace, the median age is probably something like 28-34, so the classical music listeners are of my peers’ parents’ generation. To be honest, I completely agree with the accusations of signaling for the vast majority of people you see at classical music events around here. Few of the (mostly older) people I see at concerts seem like they’re there for the music—they spend their time dozing off, fidgeting with things, people gazing and being gazed at, counting the minutes till intermission and then rushing out at the end without wanting to hear the encores. People my age and younger at concerts seem much more sincere, even if there are so few of them.
Here’s a couple more: desire to learn an instrument (because training often uses mainly classical repertoire), or the recommendation of someone trusted. One could argue the latter is about status, but I don’t think it always is.
Those are reasons too—good ones, even. And it probably depends on the motivation behind the recommendation whether it’s about status.