Concerts constitute a crucial part of American postwar cultural life; much be can learned from the choices of the viewer. In most larger American cities, there are distinct venues for classical music, jazz and rock ’n’ roll music. Increasingly touring artists who don’t fit neatly into these categories have also ventured into these spaces. Ranging from individual performers or pianists playing just one night to a symphony doing a season, concert halls are a center for cultural activity (and social organization by class, age, race and gender). Unlike clubs, customers sit in assigned seating, with a traditional proscenium stage in a hall designed with acoustics in mind. It is a more formal way to hear music and hence, even in the casual twentieth century people tended to dress up and make an appearance.

Many attempts have been made to reach out to non-traditional or younger audiences.

One of the ways in which city agencies have done this is by sponsoring free out-of-door concerts in the summertime. In New York, for example, such luminaries as Luciano Pavarotti and Diana Ross have performed concerts outdoors, as have many other lesserknown singers and musicians. In smaller towns, churches and meeting halls are often used as spaces for concerts—for local performers as well as performers on tours. On college campuses, concert halls are an important part of campus life, as artistic directors try to bring in acts that will serve both the students and the local residents. Touring agencies and agents have helped to make this aspect of the music industry a large part of commerce that helps to sells albums.