par Hambersin, Michel
Référence Enhancing Participation in the Arts in the EU: Challenges and Methods, Springer International Publishing, page (311-322)
Publication Publié, 2017-06
Partie d'ouvrage collectif
Résumé : During the last decade the backdrop of classical music has undergone significant changes in most Western countries, where the live concert was historically particularly active. Major features are regularly observed, amongst which a systematic decrease in the level of the cultural background of most people, particularly in the younger generations, a quasi-disappearance in most countries of teaching of arts at school, a radical increase in the average age of concert-goers who are often over 60 years old, a change in the decision process of younger generations for cultural events (preference for funny events, last minute decision making, interest for shorter events and zapping of genres), and a tremendous increase in the supply of entertainment products which compete with artistic proposals. The result of these changes has been to induce cultural institutions to look at other kinds of musical proposals, more adequate to fit with the expectations of new audiences. The purpose of this chapter is threefold: (a) propose a new typology of classical musical consumers more directly linked with their new attitudes and expectations and their consumer behaviour with respect to classical music (Sect. 1); (b) review and classify major changes introduced by some musical institutions (but not all), in order to cope with these behavioural changes (Sect. 2), and (c) try to establish a relationship between proposed musical events and the demands of potential cultural consumers emanating from the various categories of the suggested typology. In doing so, we will base our analysis on the practical experience of Festival Musiq3, a Brussels-based festival whose basic aim is to develop such a policy (Sect. 3).