Comparative Analysis of Sarah Brightman and 2 Cellos, Classical Artists Applying
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Comparative Analysis of Sarah Brightman and 2 Cellos, Classical Artists Applying Successful Crossover Strategy to Popular Music by Dragana Simonovska A Thesis Submitted to the Faculty of College of Business In Partial Fulfillment of the Requirements for the Degree of Master of Science Florida Atlantic University Boca Raton, FL May 2017 Copyright by Dragana Simonovska 2017 ii Acknowledgements I would like to express sincere gratitude to all of my committee members for all of their guidance and support. Special thanks to advisor Dr. Mark Rhorer and committee chair Dr. Joseph Compomizzi, for their persistence, patience and encouragement during the writing of this manuscript. I am also grateful for the support of the FAU Department of Music and Department Chair Rebecca Lautar. iv Abstract Author: Dragana Simonovska Tittle: Comparative Analysis of Sarah Brightman and 2 Cellos, Classical Artists Applying Successful Crossover Strategy to Popular Music Institution: Florida Atlantic University Thesis Advisor: Dr. Joseph Compomizzi Degree: Master of Science Year: 2017 For decades now, musicians have been using crossover to expand their career and earn more knowledge about the music industry. Soprano Sarah Brightman and duo 2 Cellos are classically trained musicians who implemented crossover into their career and used their classical training as guidance of become successful. Musicians who restrict themselves only to classical music may approach danger regarding a career and livelihood, which includes audience interest, employability and financial instability. In this study the term “crossover” refers to classical artists’ who use their skills to perform other genres. Crossover gives artists the chance to appeal to larger audiences and extend their repertoire of music while using techniques used in classical works. Classical musicians such as Sarah Brightman and 2 Cellos are being forced to cross musical genres because of employability, declining audience interest in classical v music and financial instability. Within this research I am going to compare and analyze the crossover of one classical vocalist, Sarah Brightman, and a classical instrumentalist group named 2 Cellos. My research will focus on the following three questions: Research Question #1 What are the critical factors for successful crossover for classical musicians to pop? Research Question #2 What crossover processes did Sarah Brightman and 2 Cello’s employ to transition from classical to pop music? Research Question #3 Was Sarah Brightman’s and 2 Cellos crossover to pop music successful according to the definition and parameters of success? This paper ends with a conclusion highlighting my findings, which summarizes the major points of this research and provide ideas for further research on the concept of crossover. vi Dedication This manuscript is dedicated to my wonderful parents Emil and Emilija, and my sister Sara, who have been supportive of my education for the past ten years. Also, I would like to dedicate this manuscript to everyone who has supported me throughout the journey for this degree and have been patient throughout my studies. Comparative Analysis of Sarah Brightman and 2 Cellos, classical artists applying successful crossover strategy to Popular Music Chapter I - Introduction….………………………………………………………………..1 Research Questions………………………………….…………………….………..3 Chapter II: Literature Review…...………………………………………………………...5 History of Classical Music ……………………………………….………………...6 History of Pop Music……………………………………………………………...11 Problems facing classical musicians……………………………………………....17 Professional Biography of Sarah Brightman……………………………………...23 Professional Biography of 2 Cellos……………………………………………….26 Literature review summary…………………………………………….………….27 Chapter III: Methodology…………………….………………………………………….28 Chapter IV: Analysis…………………………………………………………….……….30 Research Question No. 1………………………..…………………………….….31 Research Question No. 2…………………....……………………………………35 Research Question No. 3…………………………………………………………40 Chapter V: Conclusion…………………………………………………………………...44 Reference Page…………………………………………………………………………...50 viii Figures Figure 1: The History of Classical Music (Naxos Records, n.d., Music History Chart)….7 Figure 2: Crossover Artists (Eunji Tuttle, n.d., Billboard Classical Album Chart)….......16 Figure 3: Employment of Music Graduates (Scott ,2010, The Guardian)…………...…..19 Figure 4. Differences and Similarities Crossover Experience…………………………...46 ix Chapter I: Introduction Throughout history, to present day, artists all over the world, search for emotional and artistic connection with others. Often artists struggle with the thought of losing themselves, while trying to build a connection with the expectations that today society has. Looking back at the music industry and its development throughout history, we notice changes such as genres, expectations, audience acceptance, business laws and finance, which have caused artists to struggle with doing what they love while maintaining a financially stable lifestyle. Problems such as acceptance, popularity, interest and financial stability, bring many artists to the verge of either changing careers or being unhappy while doing what they love. Sometimes artists’ excitement and unrealistic expectations do not necessarily bring them success, which most of the time lead towards disappointment and quitting. In some cases, artists mold into someone else’s expectations and struggle to be themselves, which either leads them to success or failure. In other cases artists such as Sarah Brightman and instrumental groups like 2 Cellos, decide to stick with what they love to do, while adding multiple changes, including music material, team, genre, image and style. Musicians who restrict themselves only to classical music, may approach danger regarding a career and livelihood, which includes audience interest, employability and financial instability. According to Jones (2016), there are musicians who make great careers out of only performing classical, but that was probably accurate decades ago. 1 Today, many people especially the youth, are not attending as many classical events as in the past (Sandow, 2011). This lack of audience interest is making employability lower, is interfering with the classical artists’ financial stability and success (Jones, 2016). Low ticket, digital and record sales, minimal touring opportunities and decreased merchandise items, can either destroy or completely change an artist’s career. With classical musicians, especially soloists, low audience interest and employability, has been the case since the early 1990’s when a lot of new genres became exposed to the audience (Jones, 2016). With the evolution of the music industry, genres like classical music have felt the affected decline of audience and sales. However, classical genres and artists are beginning to blossom in the pop world. This opportunity for classical artists provides the professional and financial motive to matriculate through a genre crossover. Performers who are able to appeal to different audiences, genres, and record charts, and who can also perform different techniques in music, are practicing “crossover.” In this study the term “crossover” refers to classical artists’ who use their skills to perform other genres. Crossover gives artists the chance to appeal to larger audiences and extend their repertoire of music while using techniques used in classical works. Exploring new repertoire and genre, provides classical artists the change needed to do more within the entertainment industry, including movie collaborations and record deals. Classical musicians in the past, like tenor Pavarotti, used crossover to enhance their careers and to bring themselves to a more stable lifestyle. With the new genres available today, artists are expected to be more flexible with their knowledge and more connected to their artistic side. No matter the genre, artists from different backgrounds have 2 expanded their knowledge by experimenting with and implementing different techniques on to their performance. Artists such as Yo-Yo Ma, Vanessa Mae, Nigel Kennedy, are examples of crossover artists who implement their classical music background into the pop music scene (Cummings, 2012). Classical musicians such as Sarah Brightman and 2 Cellos are being forced to cross musical genres because of employability, declining audience interest in classical music and financial instability. Within this research I am going to compare and analyze the crossover of one classical vocalist, soprano Sarah Brightman, and a classical instrumentalist group named 2 Cellos. This research is intended to discover the primary reasons for the need to crossover, define the critical factors and process employed in successful crossovers, and compare the crossover experiences of a single classical artist and a classical performing instrumentalist group. My research will focus on the following three questions: Research Question #1 What are the critical factors for successful crossover for classical musicians to pop? Research Question #2 What crossover processes did Sarah Brightman and 2 Cello’s employ to transition from classical to pop music? Research Question #3 Was Sarah Brightman’s and 2 Cellos crossover to pop music successful according to the definition and parameters of success? The research project in Chapter II first presents a literature review, including history of classical and pop music, and biographies of both crossover artists, Sarah 3 Brightman and 2 Cellos. Chapter II also includes