In the last century, music has changed; we have seen the birth of jazz, rock, hip hop, modern and contemporary classical music, to name just a few. At the same time, attendance at classical music concerts -- particularly by young people -- has dwindled in the United States.

Are we witnessing the decline of classical music appreciation?

As a keen concert goer, I find it often intriguing to observe that the youth is a significant minority at these venues. In 1937, the median age was 28 for Los Angeles’ concert goers; in 2008, the median age was 49, according to a Jan. 21, 2014 Slate article. At times, I wonder if I am the youngest in the audience.

I believe we are, indeed, seeing a slow decline of classical music concert goers. However, this decline is not taking place without a contest.

In 2014, the prominent Metropolitan Opera in New York, was on the brink of bankruptcy. This bastion of evocative and powerful music was losing its financial grip. Why? “We are getting a newer audience, a younger audience, but there aren't enough new audience members to replace the old audience members who are dying off,” Peter Gelb, the general manager of the Met Opera, said, according to a June 7 BBC article.

Indeed, if we observe the numbers from 2008 to 2012, the audiences grew older: Adults ages 35 to 54 were fewer in attendance while those who were 65 and up increased. For instance, in 2008, 33.5 percent of audiences were 65 and up; in 2012 it was 36 percent, according to a Sept. 26, 2013 blog by WQXR, a New York radio station.

Within these numbers, we see no mention of teenagers or adults in their 20s. Are they a minority at these events? If so, why is this the case?

One can point to several reasons: the notion that classical music is “too elitist,” an inability to afford tickets or merely an interest in other genres of music.

A Jan. 15 Economist blog addressed the elitist criticism best: “Bringing in a new generation will be hard without shaking off classical music’s reputation for being elitist and uncool.”

People believe listening to 18th century Austrian composer Wolfgang Amadeus Mozart’s music “boosts brain power,” thereby, increasing intelligence, according to a Jan. 8, 2013 BBC article. This, known as the Mozart Effect, ostensibly makes young adults more efficient for fifteen minutes.

Neither “elitist” nor music to “boost brain power” is an accurate characterization of classical music. Instead, it is simply a different genre that may require a different way of perceiving and listening in order to fully appreciate it. This is true for any genre of music.

These misconceptions of classical music can lead to intimidation; classical music can be perceived as something beyond one’s understanding and, therefore, “too elitist,” “lofty” and perhaps “old.” This may also arise from the etiquettes of concert halls, which include dress codes and periodic clapping.

Contrary to our thinking, this is a relatively new formality. In the 18th and 19th centuries, people dressed in whatever they desired, and they could voice out their discontentment if the music did not match their standards, according to a Sept. 10, 2013 Guardian article.

A lack of attendance by younger people could also arise from a lack of opportunities due to financial constraints. This is why orchestras are willing to subsidize tickets through various programs such as “student rush tickets.”

They recognize the financial problems: Teenagers who want to attend concerts cannot because of high ticket pricing, and this causes orchestras to lose potential customers and potential revenue. However, that is why there are “rush tickets” that significantly reduce the price.

Consequently, despite a slow decline of concert goers, orchestras may make a comeback in the next few years as a result of outreach efforts.

For instance, the Boston Symphony Orchestra allows for youth concerts geared toward students from grades 4 to 6 in order to “act as an introduction to the full orchestra experience, encouraging long-term ownership of orchestral music and the BSO,” according to the BSO’s website.

Likewise, for the general public, “casual Fridays,” as they are called, is the new entertainment offered by the BSO. These performances often directly engage the performer with the listeners through brief introductions from the stage by the conductor. Technology is also in use with iPads loaned to audience members for the duration of the performance.

In all, “casual Fridays” are a casual experience – no dress code or any of the usual etiquettes – and it seems to work in drawing younger crowds: At these performances, the average age is 47, according to a Jan. 11 Boston Globe article.

Like the BSO, the New-York based Lincoln Center tried to appeal to younger audiences. Their strategy involved using projection towers and robo-cameras, according to a Jan. 29 piece by PSFK, a publication that focuses on professional innovation. Six robotic cameras roam the orchestra and provide images of the musicians at play.

Even the Met Opera, which was on the verge of bankruptcy, last year reported a surplus of $1 million from a $22 million deficit. Of course, much of its funding likely came from donors. Nonetheless, since 2014, it has seen the number of first-time ticket buyers increase by 9 percent and tickets sold to college students increase by 18 percent, according to a Sept. 25, 2015 BroadwayWorld article.

It is, of course, important to remember that these new ventures in concerts are taking place in the big cities. The next challenge for orchestras will be to appeal to smaller towns and cities. These locations might be far from large concert halls, therefore making classical music concerts more difficult to access. This is why partnerships between the larger and local orchestras might be in order.

In addition, new techniques of performing may alienate certain members of the audience. Some members might prefer the traditional etiquettes of classical music. Therefore, orchestras must also be mindful of the amount of change they wish to bring to the industry.

Yet, the new programs are encouraging signs for the classical music industry in the United States: The younger generation is not only learning but also preparing, in the industry’s eyes, to be future sources of revenue – through both ticket purchases as well as through donations.

We may, indeed, be seeing a slow decline of classical music concert goers. However, it is still only “slow.” The industry is challenging, and we may see its effects in a few years.