The genre of the magazine is easily definable just from a brief observation. 'Last choirs standing' supports an orchestral or choral theme, relating it to classical music.
Colour choice also emphasises the traditional aspect of classical music. The tinted beige and faded bronze have prestigious connotations, giving the magazine an implied audience of upper class readers.
With the image, the mis en scene of the church and youthful choir demonstrates how multiple generations have taken up the mantle of traditional vocal singing, creating the reassurance of classical music's future. To support this, the smaller image embedded in the text depicts an older mentor, expressing how the skills are passed on. Additionally, this establishes that the tone will be formal due to the original background of classical music and the associations it has with the upper classes.
'Last choirs standing' as a heading creates urgency due to its play on the common 'last man standing' idiom, which suggests that things are in dire supply. The stand-first begins by evoking negativity, using phrases like 'dwindling nationwide' to promote the scale of the problem, but is then balanced with phrases such as 'initiatives to re-engage Britain's youth' which restores the possibility of hope. This introduction acts in the format of a narrative discourse, using a summary paragraph to establish the journey from an initial problem to a resolution, suggesting that the article will adhere to a narrative structure.
Titling the article 'The Future of Choral Music' in the top right corner helps to generalise the topic, as well as bring classical music into the modern day. Saying that there is a 'future' for classical music emphasises that it still has a place in the music industry. Therefore the audience are reassured from an economical perspective that the classical genre is not in fear of being put out of business.
I would like to draw attention to the font, which allocates an archaic style to provide it with the necessary authenticity of traditional documents.
Finally, the layout of the page is structured and organised with a clear reading path, since there are no extra boxes of text. The short columns make the article appear less daunting because it is spaced out across the double page, whereas if it had been condensed onto one page like the Q magazine, it would appear overcrowded and too much to read.
'Last choirs standing' as a heading creates urgency due to its play on the common 'last man standing' idiom, which suggests that things are in dire supply. The stand-first begins by evoking negativity, using phrases like 'dwindling nationwide' to promote the scale of the problem, but is then balanced with phrases such as 'initiatives to re-engage Britain's youth' which restores the possibility of hope. This introduction acts in the format of a narrative discourse, using a summary paragraph to establish the journey from an initial problem to a resolution, suggesting that the article will adhere to a narrative structure.
Titling the article 'The Future of Choral Music' in the top right corner helps to generalise the topic, as well as bring classical music into the modern day. Saying that there is a 'future' for classical music emphasises that it still has a place in the music industry. Therefore the audience are reassured from an economical perspective that the classical genre is not in fear of being put out of business.
I would like to draw attention to the font, which allocates an archaic style to provide it with the necessary authenticity of traditional documents.
Finally, the layout of the page is structured and organised with a clear reading path, since there are no extra boxes of text. The short columns make the article appear less daunting because it is spaced out across the double page, whereas if it had been condensed onto one page like the Q magazine, it would appear overcrowded and too much to read.
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