I'll respond to both posts on this item right here.

(It's been a while since the original responses to my message.  They had to
do with a) whether the free market was "remarkable" in general, b)whether
the free market was "remarkable" in helping out CM, and c)what the "war
over listeners" is.)

In terms of the epsilons, I'm not sure what the reference to epsilon is
(unless it is to the infinitesimal values that epsilon usually represents
in math).  Anyway, I certainly agree that music is 70 times 7 more
meaningful than economic criteria could ever account for.  However, I
think that the free market is quite a bit more efficient than most other
structures at what it seeks to do.  "What it seeks to do" may or may not be
good, or it may be partially good.  I'd side with the latter idea.  Therein
also is why I used the word "remarkable." I'm not saying that the free
market finds truth or anything, but it is pretty amazing at seeking out
profit, ordering means of production, etc.  Much moreso than other
schemes.  In terms of art, it is more successful at getting new customers
("listeners") than other methods- NEA, academia, etc.  The trick, of
course, is to make customers=listeners and not just purchasers or
something.  The free market is less good at that, because it prefers to
create a customer base that will "blindly" accept what it puts for sale and
has a short enough attention span to buy new fads with regular enthusiasm.
A big chunk to bite off, and I don't feel like justifying it (although I
think I could, if anyone backchanneled me).

At any rate, I really think that BMG, for example, has been a very good
thing for classical music.  Sure, it promotes mainly the "big hits" that
are sure to sell.  But, I imagine that it has facilitated the passing
interest of MANY who would otherwise never really cultivate it (especially
those in smaller cities without lots of music events; see, the free
market is egalitarian!).  I expect I'll get a few grunts about that one.
Backchannels accepted there, also.  Like I said, I'd prefer to sacrifice
hearing another rendition of Beethoven's 5th in order to know that record
companies have done a good job getting more people interested in CM via
the Three Tenors or Tilsen Thomas.  The dark side, of course, is when the
Titanic passes for CM.  I personally don't have much love for Three Tenors
stuff, but I really do dislike commercial music a la lame soundtracks.
Many people these days think of film scores when they think CM, and that
is a bad thing.

The trick, I think, is somehow to have a combination of business sense
and "intro to music" sorts of avenues, like Performance Today.  Martin
Goldsmith probably can't drum up hordes of new listeners by himself (sweet
man though he is).  He needs BMG, etc.

Anyway, I don't remember exactly where this is going, so I'll shut up.
(Papers to write!) I want to repeat the earlier question, which I am VERY
interested in: we all know that the proportion of CM albums sold has gone
down, but what about the absolute number? As I stated last time, I think
this may be a more accurate assessment of the impact of CM on the public in
some ways.  (or, the proportion of people who consider themselves CM
listeners).

In answering the question about the "war over listeners," it's a ratings
war, and a war for customers.  I see lots of students these days that are
SO much more attracted to pop music than they might have been 40 years ago,
because pop music has done such a good job in infiltrating the culture
in all respects.  Lots of pop enthusiasts have nothing but scorn for
classical, and would just as soon see it die.  Not that this describes most
of the pop world (which is probably just oblivious to CM).  Anyway, the
"war" is just my characterization of what the average media exec tries to
do when s/he walks into the office every day.  Pop stuff is just more
appealing (esp.  to instant gratification).

I'll procrastinate a little more here and address another topic that is
essential, I think, to this issue.  Classical is not seen here as arising
from the people but being shipped over from Europe on the academic boat.
Cf the chapter in the Joy of Music on Bernstein's discussion with the
Broadway producer.  There seems to be a lack of classical music being
infused with themes of life that the contemporary American can understand.
Most composers today are just a little too modern and academically oriented
to bridge the gap.  Parenthetically, I just played a concerto by Robert
Ward with my university orchestra tonight that was very jazzy, Coplandish,
and Gershwinian (and yet marvelously constructed).  Everyone loved it (or
so they told me!!).  Ward is an all too rare composer, though.  Drawing on
stuff that is AMERICAN and yet very intellectually gratifying.  Without
more of that, pop is American enough to win every time.

Robert Ward Shaw
Wake Forest University