The world of musical theatre is undergoing a quiet revolution, one that threatens to shrink the once-grand orchestras that bring these productions to life. The culprit? Sophisticated software that promises to revolutionize the way musicals are performed, but at a cost that could be devastating for professional musicians. This article delves into the complex interplay between technology, economics, and the future of live music in the theatre.
A Shrinking Orchestra
The story begins with a familiar one: the iconic Disney musical, The Lion King. In its Australian debut season in 2003, the production boasted a 17-piece orchestra. Fast forward to the present, and that number has been reduced to just 11 musicians. This trend is not isolated; it's a global phenomenon. The culprit? A new generation of music software, with KeyComp at its forefront, is reshaping the very foundation of musical theatre.
James Steendam, a Sydney-based violinist and violist, warns of a dire future for musicians. He notes that the trend of shrinking orchestras has been ongoing for two decades, and now, with KeyComp, the situation is worsening. This software, developed by former Apple engineer Christoph Buskies, allows a single keyboardist to play melodic lines while the software adds custom-recorded orchestral parts, creating a dynamic and 'live' feel.
However, the MEAA, a powerful union representing musicians, has successfully campaigned to ban KeyComp in New York, Washington DC, and Hamburg. They are now pushing for its restriction or ban in Australia. The software's ability to reduce the number of musicians required is a double-edged sword. While it may save costs for producers, it poses an existential threat to musicians.
The Cost of Convenience
Diana Tolmie, a Brisbane-based musician with three decades of experience, has witnessed the impact of this software firsthand. She notes that the reduction in orchestra size can be attributed to two factors: smaller orchestrations and the use of KeyComp. Once-standard 24-piece bands are now a rarity, replaced by smaller, rock-based ensembles. This shift has led to a decrease in the number of instruments required, with some roles now shared by a single musician.
Tolmie highlights the increased demands on musicians, with some now expected to play multiple instruments simultaneously. This has led to a hectic performance environment, requiring musicians to quickly adapt to new challenges. The pressure to perform at a high level immediately is immense, and the pit environment, with its unique demands, can be daunting for newcomers.
A Cultural Dilemma
The use of KeyComp and similar software is not just a financial decision for producers. It reflects a broader cultural issue, as Rod Davies, an academic and author, suggests. The question arises: do we value our musicians? The undercutting of musicians by technology raises concerns about the future of professional musicianship in Australia.
Lachlan Bramble, a violinist with the Adelaide Symphony Orchestra, echoes these sentiments. He warns that the use of AI and software like KeyComp not only threatens livelihoods but also shortchanges audiences. The magic of live music, the momentary connection between the audience and the performers, is at risk of being lost.
The Future of Live Music
As the debate rages on, Tolmie expresses her concerns about the potential consequences. She fears that embracing KeyComp could lead to a loss of audience discernment, blurring the lines between live and recorded music. This could have a ripple effect on the entire music industry, not just pit orchestras.
In conclusion, the rise of music software like KeyComp presents a complex challenge. While it offers cost savings, it also raises questions about the value of live music and the role of musicians in the future of theatre. As the industry grapples with these changes, one thing is clear: the traditional orchestra is evolving, and the future of live music in musical theatre hangs in the balance.
