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So, there are plenty of reasons to ignore audience altogether, since chances are the people that really believe in "the experience of music" are far too few to make any difference (yet!) and what you end up with is a lot of people who have uncomfortable bias AND an attitude which doesn't favor anything beyond their limited knowledge, with no possibility to grow. (Though I did say not to underestimate any audience...which is really lots of wishful thinking. And, I like to give people the benefit of doubt rather than assume everyone in an audience is a jerk!)
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I did mean to refer to the average ("classical") concert-going public, not the demographic which uses MTV as musical nourishment. I do think there's a gap between at least some contemporary aesthetics and what audiences like to hear - just look at all the Mozart, Beethoven, Brahms etc. occupying concert programmes nowadays. But people do also seem to be catching up in many ways, which is exciting. Realistically, I think it's unreasonable to expect "real-time" appreciation of the avant-garde. After all, that's why it's called the avant-garde.
And yes, I'd certainly write differently for my musically literate friends in contrast to what I'd produce for a commercial venture. I think that underlines my point about effective musical communication. It can help you earn money, and it can help you connect with people. I find both of these prospects rewarding.
P.S. rwgriffith, were you bamming me in a good way or a bad way?