What
does work, then? My evidence is admittedly anecdotal, but when I ask people what got them interested in classical music, they answer with things like: cartoons, movies, television shows, commercials, watching a live performance, learning an instrument. One thing that all these answers have in common is that they are all about experiencing classical music as music. Some other people mention getting interested through gateways like classical-esque sounds in the Beatles, or movie and video game soundtracks—though the division between “movie music” and “
real music” has always been blurry (Shostakovich and Copland wrote for movies, after all), and there’s a whole scholarly subfield called ludomusicology devoted to the study of video game music. In any case, for most people I talked to, their interest was piqued not by being
told that they should like the music, but by hearing music itself.
[...]
If you want to grow classical music’s audience (and you should), rather than arguing
why people should like it, focus your efforts on giving them opportunities to encounter it and form their own associations with it. Share your favorite pieces. Organize performances for communities that might not otherwise get that experience. Again, don’t pre-interpret the music for them; let them come up with their own opinions. If they decide it’s cool, fine, but if not—that’s OK, too. After all, the opposite of “boring” isn’t “cool,” it’s “interesting.” ¶
(
Classical Music Isn’t Cool)