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I suspect we'd class you rather different from "the masses"! Trouble is in the UK musical education in secondary schools has as-good-as been abandoned. In former times lessons would include a bit of singing (based on the tonic solfa) and some familiarity with names (called "musical appreciation") so even if the kids weren't interested they'd heard of names like Mozart and Beethoven. As for Uhor's claim that many appreciate and focus on the likes of Stockhausen, this must be a regional phenomenon. The few students I've met through an acquaintance/professor may have heard of Stockhausen and a few others but aren't interested in more than knowing the names. Even those in the "sound organisation" class seem to centre on more recent proponents of (what I call) electroacoustic.

well well well well well HENRY you're amazing updated the mp3 of Henry playing this

I can (mostly) agree with that, but this is even one of those points I think was more true 20 - 30 years ago regarding the first point. In the past, largely due to limitations in video game sound, you had to hire a composer who really knew what they were doing to compose something that would be interesting to listen to on loop with just a bunch of beeps and boops. Where film was concerned, they were not going to drop 100s of thousands on hiring an orchestra unless once again, you had a composer who really knew what they were doing. You wouldn't give just anybody the job. But Hans Zimmer and his factory have reduced film music to being as vacuous as lil's wayne's brain after a bong rip; easily worse than pop music, and video games now desperately try to be like those films. Now, anyone can buy some samples and synths (or pirate them) and play too, and they will get the job based on sheer nepotism often via familial connections. Well, my own experience is that the vast majority of those composers have little interest in composing much beyond trailer, game and film music and in conversation with them, this seems to be because they arguably like games and movies more than they like music. There are also more electric guitar players than ever in history, but few of them put music above weed and their rockstar persona. Most young musicians I ever played with as recently as 7 years ago were outright hostile to learning anything about musical theory, that got in the way of partying and gaming, and this doesn't seem to have changed much. I would say this reinforces my point: I wanted to learn everything there was to know about music, because I was always in it for the music. The only reason I got into writing for games, was because that was where the money was at one time. I'm not sure if I should be black-pilled on that or not lol I pretended to like Yngwie Malmsteen and that's what got me somewhat interested in classical music.

There is a lot of truth to what you are saying. I do think the attention span of younger generations is getting shorter which is particularly bad when it comes to music. Everything is accessible instantly and it is easy to move on to the next thing if they are not instantly drawn into it. As you said, covers and remixes of familiar music does tend to draw more listeners than original music though there can be exceptions. Until recently, my most listened piece on my youtube channel was a brass quintet arrangement of a Star Wars theme that I did for my brother when he wanted it played at his wedding many years ago, so no surprised it got a lot of views and I admit, I have scattered a few other arrangements/covers within what is mostly original music to try to attract more viewer who then I hope will stick around to listen to my original music. And I think this does work; kind of out of the blue, an organ arrangement of one of my original choral works suddenly rocketed up to being my most viewed and is on the verge of being the most listened piece on my channel just within a couple years so I guess it is still possible sometimes to strike the right chord in people.