(Q024) What is one piece of evidence offered by Heather Mac Donald to support the notion that classical music is thriving?

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The question asks about one piece of evidence offered by Heather Mac Donald to support the notion that classical music is thriving, and provides four answer options. Since the provided data does not include the correct answer, I will analyze each option in terms of how plausible it would be as a claim Mac Donald might use, and explain potential strengths or weaknesses of each.

Option 1: 'The recording industry continues to produce sets of standards like Beethoven symphonies with soaring sales.' This statement suggests robust commercial demand for classical work in recordings. If Mac Donald were making the case that classical music is thriving, citing high sales of standard repertoire could be used as evidence that there remains a strong market for canonical works. However, one potential flaw is that sales of well-known composers (like Beethoven) might be driven by nostalgia, gifts, or classification as culture goods, and may not indicate broad engagement or live-audience vitality. Additionally, record sales have fluctuated in many genres due to streaming, so 'soaring sales' would need to be backed by data to avoid overgeneralization.

Option 2: 'Concert attendance is growing.' This is a direct measure of active engagement and participation in live classical music, which many proponents of a thriving scene would value. If Mac Donald cites increasing attendance, it would support the claim of vibrancy independent of recording markets. Yet, questions could arise about geographic scope (national vs. city-level), degree of growth, and whether attendance growth is proportionate to population size. Without precise data, the claim could be exaggerated or selective.

Option 3: 'More people are learning to play classical music.' This focuses on participation and skill development, suggesting a pipeline of future musicians and enthusiasts. As a piece of evidence, it would imply long-term vitality and cultural uptake. However, rising numbers of beginners do not necessarily translate into a thriving ecosystem if retention, quality, or professional opportunities do not keep pace. It could also be influenced by broader education trends or accessory programs rather than intrinsic thriving of the classical music scene.

Option 4: 'There are more professional orchestras in the United States than ever before.' This asserts organizational growth in the professional side of classical music, which would be a clear indicator of a robust infrastructure and employment in the field. If true, it strengthens the argument for thriving classical music. Potential criticisms could include noting that more orchestras may come with smaller ensembles or financial fragility, and counts alone do not reveal audience health, repertoire breadth, or quality of performance. It would be important to corroborate with funding, size, and regional distribution data.

Across all options, a key consideration is whether the evidence reflects durable engagement (live attendance, participation, organization) versus ancillary indicators (recorded music sales, education enrollment) and whether data are representative nationwide or concentrated in certain hubs. In the absence of the actual statement or data from Heather Mac Donald, each option presents a plausible angle she might use, but each also carries potential caveats about interpretation, scope, and causality. If you have access to the specific text or citation from Mac Donald, we could align the analysis precisely with the stated evidence and assess which option matches her argument most closely.

MUS374.001_1253 CH 39 CHAPTER QUIZ

(Q024) What is one piece of evidence offered by Heather Mac Donald to support the notion that classical music is thriving?

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