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before 40,000 years ago, personal ornamentation (shell beads) by 30,000 years ago, and long-distance trade in objects before 10,000 years ago.

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The authors, Lucy Dearn from the University of Sheffield’s Performer and Audience Research Centre, and Stephanie Pitts from its Department of Music, came up with interesting results.It’s been a much debated subject for years now, but what are the barriers that seem to be preventing, or disinclining, young people from going to classical music concerts?Even a casual glance across the rows of seating at a typical symphony concert will yield the truth of the matter.So-called ‘third places’ in libraries and recreation centres might be useful models: with their informal layout, these serve as anchors of community life by offering easy accessibility and opportunities for social engagement.The stiff, formal atmosphere of traditional concert halls seems archaic by comparison.As one commentator put it: “they’re not moved by flashy ads, big promises, and “wow” factor.

They want authentic messages, authentic brands, and authentic interactions”.

Dearn and Pitts also concluded that concert setting was to blame.

They note in their observations that it was “serving as a distraction as participants became concerned with whether they were welcome and how they should behave”.

An interesting piece of research in the suggests the views that young adults hold toward classical music are not as malleable as might be imagined.

Entitled ‘(Un)popular music and young audiences: Exploring the classical chamber music concert from the perspective of young adult listeners’, it asked 40 young people about their reactions to chamber music concerts at Sheffield’s Music in the Round series to which they were invited to attend.

So the logic goes like this: by making classical concerts shorter, cheaper, more informal and visually engaging with elements such as lighting, projections and movement on stage, this could entice more young people to come along.