So says Peter Maxwell-Davies, famous cygnocide and Master of the Queen's Musick.
Successive governments have cut back on music education in state schools to the extent that music specialists have become a rarity.
Doesn't he actually mean that for a short, brief period a few grammar schools and a very few secondary moderns taught a narrow curriculum of what they called music, that included absolutely no world context, and generally only taught performance to pupils whose parents were willing and able to pay?
One can look at circulation figures for the "popular" papers in comparison with their so-called "highbrow" stable-mates and realise that most people leave school with a restricted active vocabulary of just a few hundred words, and that the very act of thought is thereby severely restricted. Perhaps not only our children but all of us are being educated to become good, docile consumers, so that we become incapable, or perhaps just unwilling, to question the status quo.
But wasn't that always the case? Does he seriously believe that the vast majority of people of his generation, those condemned to a non-education, are somehow literate, articulate and reading the broadsheets?
Actor Val Kilmer, rather patronisingly, has praised British theatregoers ahead of his London stage debut next month, describing them as
smarter than their US counterparts...very sophisticated and probably the most well-read on earth
John Tusa hit out at the dumbing down of BBC Television. His overall message was somewhat diminished by the rather ridiculous examples he gave.
When the BBC uses Rolf Harris to talk about the Impressionists, and when he paints his version of great masterpieces, the programme is saying: 'Look, there's nothing special about art. Anyone can do it. Don't believe those art snobs. Rolf has just done what they do before your eyes
I happened to think that that Rolf on Art was a ridiculous idea and didn't watch it, because Rolf Harris is only slightly less detested in Gert Cottage than Alan Titchmarsh.
He makes a very big mistake by criticising Michael Palin and Dan Cruickshank as presenters. The most ridiculous quote is
In the world of documentaries, the flight from intelligence has taken on the aspect of a headlong rush," he will argue, labelling the phenomenon "the Blue Peter effect
A few weeks ago BBC4 repeated the famous Kenneth Clark 'Civilisation' programmes. I had never seen them before but for many years I had read of them as being the apogee of British documentary television. I'm sorry, but they were boring and of poor quality.
Perhaps the likes of Tusa and Clarke and Maxwell Davies would sneer at me as being symptomatic of the general dumbed-down Great Unwashed. However, I am more highly educated than the vast majority of the UK population, and have participated, for close on 30 years in a range of cultural activities.
I found Civilisation to be dull. Clark was an appalling presenter, talking barely coherently in clichés, making references to an assumed level of knowledge, and pursuing a barely disguised agenda- basically, snobbery against anyone who works for a living (including th eprofessional as well as the commercial classes). The photography/cinematography was to a large extent a product of its time, constrained by primitive technology. But a contrast with Don Cruickshank's Around the World in Eighty Treasures or Michael Palin's Himalaya, both of which were worth watching for the photogrpahy alone.
Perhaps people watched Civilisation back in 1970-whatever, due to the lack of alternatives on TV, but I do not believe it is good enough to cut the mustard in 2005. If I want dry commentary, I will read a book, as so very many Brits do. If I watch TV I do actually want to be entertained whilst I'm being educated. So what if Adam Hart-Davis showed how the Mesopotamians made beer. No doubt the likes of Tusa and Clark (I'll except Maxwell Davies from this) want history to be all about the derring-dos of men in their interminable testosterone-driven battles. And dates and maps. Sorry, but those of us with a more rounded education understand history is also about technological advances, social change, commerce, and all the other factors that explain the difference between then and now. Some of us even ask questions such as 'why?' and 'how?'.
And to use Blue Peter as a term of abuse - well, what a very silly man. Does he not know how many generations of children have learnt so much about the world around them by watching Blue Peter. Why has it been so successful for so very many years - perhaps because it has always understood how to convey a message in an entertaining and informative way, utilising the best visual aids available.
Nicholas Kenyon provides a sort of answer to Max
Audiences, as we know from the Proms, will thrive if you offer them real stimulation and keep formats fresh. What we cannot rely on any more is solidly predictable attendance at uninteresting concerts. Only the best is now good enough to attract a sophisticated audience.
Although he throws in a stupidity
this year we will go to Alexandra Palace to engage with family audiences who may never have been to a concert before
What part of the 'family' won't have been to a concert before? Does he mean children? If so, say so. Is he intending to appeal to couples, singles, groups of friends who have never been to a concert before? The middle-aged and their elderly parents (or don't they class as family?). "Family" and "children" are not generally synonymous.
The Independent has a more balanced view and hits the nail halfway on the head by saying
The great majority of audiences and performers get through life by paying attention mainly to the established masterpieces of the past.
In some ways that is the nub of what differentiates music from other Art forms - except that, really, everyone knows that most Fine Arts afficionados prefer the Old Masters to Brit Trash, or whatever it's called. And what's regarded as the old masters in music change.
It's only relatively recently that Handel, and Baroque in general, have made any impact in the Opera Houses. Nicholas Kenyon's article touched briefly on that. Max may not be that popular a modern composer, but Tavener and Jenkins most certainly are. There wasn't a seat available for the Steve Reich concert I attended in January. Yes, I know it's dumbed-down to like Jenkins, but I'm sure that back in the 18th century Mozart was considered dumbed-down. Many of Beethoven's works, and Bizet's Carmen, to name just examples were flops on their first performance.
I sense that as the years go by, Britten is becoming increasingly regarded as one of the greats. And there seems to be a lot of Tippett around currently, admittedly in the centenary of his birth, but he was a living composer until very recently.
I do feel there is a dichotomy between those who see Arts in general as something to be endured as a painful but intellectually improving experience, and those that see Arts as pure entertainment that needs packaging. This does not seem to be a dichotomy in literature - people read both Jane Austen and Bridget Jones, and there seems to be no conflict. There has to be a Third Way. I think, by and large, the TV documentaries have grasped it, by using Michael Palin, Don Cruickshank, Simon Schama, David Starkey as their packaging, but backing them up with proper research, and sophisticated visuals.
Mind you, I watched a Channel Four programme the other week about Built Britain, introduced by Simon Thurley - from English Heritage, I think. The photography was absolutely beautiful, but I did a lot of wincing at the elementary errors - he couldn't work out when he was talking about George II or George III, and he referred to the Anglican Church as Protestant. I'm not just being pedantic, because I would have thought the non-Protestant nature of the Anglican church is vital to an understanding of church architecture. And his coverage of the Industrial Revolution was shamefully superficial.
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