CAITLIN ROWLEY
composer

The digital dimension: 1. Programme notes

This started out as one post, proceeded to get very rambly and a little bit ranty whereupon I realised it was actually two posts fighting against each other. This is the first part, which I hope will be better behaved now it’s on its own.

A few days ago, Killing Classical Music posted an interesting article entitled Scoreboards in the concert hall – Another solution to classical music’s problem. It looks at the issue of how people unfamiliar with a piece of music can ‘keep track’ of it during performance in a concert hall, with particular reference to the sorts of vague analytical landmarks beloved of programme-note-writers. A follow-up post appeared yesterday.

The problem as I see it, reading Greg Sandow’s original posting of Michael Oneil Lam’s original post (yes, that made my head spin too) is not with the concert, not with the performance or the venue or the repertoire, and certainly not with the listener. The problem is with the programme notes. Mr Lam writes:

My biggest gripe about modern orchestra concerts is that I lose my place so easily. The program notes talk about an “icy interlude in the high strings indicating a modulation to the subdominant;” but even if I understood what a subdominant was, the violins are nearly always playing and they always sound high to me so I have no idea when the particular segment referred to by the program notes actually occurs.

My reading of this is that because the programme notes are pointing out all this stuff, he feels he ought to be looking out for it, so his concert experience is actually ruined by desperately trying to keep track of what he’s been told is important, rather than sitting back, listening and (hopefully) enjoying himself.

The big concern I feel, reading Mr Lam’s post, is of how intimidating these sorts of programme notes must be for novice concertgoers. How much of a dunce must a non-musician feel when they’re told to look out for this icy interlude doing something they have no clue how to interpret? No wonder classical music is termed ‘elitist’ by some! I don’t agree that a concert scoreboard, visible to all, is the way to go – listening to live music is a very personal experience and while it may work for some, there are many (me included) who would be so distracted by such a thing in a concert that it would ruin the whole experience. However, I do agree that something needs to be done to not alienate audience members, and especially audience members who are being brave and giving something a go that they don’t fully understand.

So to me, revising this traditional approach to the programme note seems an excellent place to start.

A clarification: I love programme notes. I love analysis. I think analysis can play a very important part in really getting to grips with a piece, but in the current day and age of recordings vs live performances and ensembles desperate for increasing audience sizes – which inevitably means recruiting new audiences made up of people who are largely unaware of classical music and music theory, I think the concept of the analysis programme note is a little outdated as a tool for general use in the concert hall.

And so I started to think about how programme notes could change. And because I am an internet junkie and a web developer as well as a composer, I started thinking about how ensembles could value-add, tackle the problem of audience development and make the physical programme more useful to audience members of all levels of musical understanding by linking to content in the digital domain.

Point: those who specifically want analysis during a concert are likely to know they’ll want it beforehand

Point: if those people aren’t overly familiar with the music or with music in general, then they’d probably get more from quiet reading of said analysis, possibly with a recording, if available, well before the performance they’re attending, rather than a quick 30-second skim through it as the lights go down

Point: those who don’t want it possibly aren’t buying programmes?

When I put all these points together, it makes me think that changing the approach of concert-space programme notes can only be a good thing. I would suggest that the printed programme could offer more easily digestible information than it often does now – most emphatically NOT dumbed-down, but information that’s more appropriate to the context of a darkened hall and only a few brief moments in which to find out what you’re about to listen to. Who the composer was, what were the circumstances surrounding the work’s composition, the general character of the work and its movements, how does it fit in with the rest of the composer’s output – contextual stuff to give a little solid ground to aid the actual listening that’s about to happen.

I think this would make the concert experience a lot less stressful for those who aren’t familiar with analytical terms. And if programmes are providing actual information that the audiences ensembles want to draw in can understand, then those people will feel more comfortable and hopefully come back to another performance.

More appropriate programme notes would also mean that the audience will be actually listening to the music, not worrying about having missed the super-special oboe theme because they couldn’t work out where the euphonium fanfare happened.

Mr Lam uses a phrase “With increased engagement comes increased memorability” and he’s absolutely right – however, he equates “increased engagement” with “tracking the current progress of the piece”. I think this is a mere technicality – it’s ticking off landmarks in a guidebook.

There’s a wonderful line in the film A Room With A View where the parson is telling a story about a father and daughter who visited Rome: “Say, papa, what did we see in Rome?” “Why, Rome was the place where we saw the yellow dog!”. This totally sums up the issue at hand – the tourists did everything they were supposed to, saw everything in their Baedeker guidebook, but the only thing that stuck was a dog of an unusual colour. The dog was what engaged them, not the Sistine Chapel or the Colosseum. Analytical landmarks in a piece are the Sistine Chapel and the Colosseum – they’re great landmarks, beautiful themes, heartbreaking chord progressions, but if you only tick them off and don’t emotionally experience them, then you won’t engage with the work. Only by really listening to a piece will you engage – and that’s when you’ll find your yellow dog.

But what about that analysis that I’ve so heartlessly culled? Head back up to the first two points I mentioned – I believe that the majority of people who actually want analysis will probably know they want it in advance. And if they know they want it in advance and can probably get the most of the concert if they have it in advance, then why shouldn’t they have it then? Put the general contextual notes into the programme – put the analytical notes online. I can see several benefits to this:

  1. Online presentation of analysis means it doesn’t have to be crammed into whatever space is available for that piece in the programme. Instead of cutting the data down to fit the space, there is room to present whatever is needed to make the analysis followable.
  2. More space means there is also the possibility of including snippets of score or audio clips, both of which aid comprehension, especially for newcomers to analysis
  3. It is possible (resources allowing) to provide different levels of analysis for musicians and non-musicians – for those who want as much detail as possible and for those who just want to know a little bit more about the work.
  4. If audience members want to take the analysis along to the concert, they can print it out and do so.
  5. From a financial perspective, the ensemble can leverage the online space as well as the print space of the programme – selling advertising space, promoting recordings with direct links to buy, or offering visitors the option of signing up to a relevant email list. To avoid the potential problem of concertgoers printing off the analysis and then not buying a programme, make it part of a programme pre-purchase deal.

I personally would love to see a day where detailed programme notes available online – or scores or continual ‘scoreboard’ updates – could be used in a concert hall during a performance, on a personal device like a mobile phone, Kindle or iPad – but I suspect that’s a way off being commonplace (although Mr Sandow’s follow-up article gives interesting descriptions of attempts at this sort of information already tried) simply because backlit devices are disturbing to others in a dark concert hall.

Obviously there will be some who will disagree with me – not everyone has access to the internet or a printer, home-printed analyses in a concert may rustle and disturb other patrons, who wants to do ‘homework’ before a concert? and so on. It’s possible that the time is not yet ripe for this approach, but Mr Lam’s idea has me thinking that instead of fretting about audience numbers but continuing to do things the same way we always have, we should be generously embracing the opportunities that digital provides and seeing what happens. As Mr Sandow says in his follow-up post:

I’m concerned that too much discussion of the future of classical music is speculation. “Oh, no, if we do X, then Y and Z will happen, and that would be terrible!” When in fact nobody knows, because X hasn’t been done.

Until we try a new approach, we can’t tell what will work. And until we wholeheartedly take a risk and throw some time/money/effort at making a new approach work in the best way possible, we can’t really tell how it will be received.

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4 thoughts on “The digital dimension: 1. Programme notes

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  2. George Marriner Maul

    At The Discovery Orchestra's Discovery Concerts our main goal is to help people stay focused in the music and notice more detail while following our Listening Guides – on the assumption that the more musical detail we perceive, the more pleasure we will receive from listening. About 5-10 minutes of music (one movement or an overture) is played at the beginning of the program. This music is then explored with lots of audience participation, referring to the Listening Guide which contains numbered musical events such as #5 Sequence or #9 Crescendo. After intermission the music is played straight through again – with the LG numbers displayed on stage. Certainly not everyone in attendance feels the need to use the guide after intermission, but a lot do. One of the Discovery Concerts "Bach to the Future" ran on public television for three years. Another, "Discover Beethoven's 5th" is about to be released by American Public Television. Doesn't work for everybody. Some don't like it at all. But about 90% of our viewer/local audience members enjoy the process. People from all over the country – people new to classical music and seasoned concertgoers alike – are telling us it helps! To see a sample: http://on.fb.me/edpBdw

  3. George Marriner Maul

    Post script – I have always felt that analytical program notes are undecipherable to many audience members. They just don't know what is being referred to when someone writes something like "the amazing inverted entrance of the fugue subject." And sitting there before the concert or at intermission they have nothing sounding in their heads to connect with this information. Hence – The Discovery Orchestra's "less is more" approach, and allowing the audience to immediately listen to the music being described in the Listening Guide. The other variety found in print – historical program notes about the composer's case of gout are always interesting. However, to paraphrase Mahler toward the end of his life (after having written many program notes trying to explain his compositions to the public) "We shouldn't provide audiences with program notes – because THEY WILL READ THEM (instead of listening to the music) while we're playing!"

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