![andres segovia asturias concert andres segovia asturias concert](https://i.ytimg.com/vi/WFnJ1APJREk/sddefault.jpg)
Perhaps the area where we were still the most connected with the CCMI was in CD releases given the presence of Azica Records, Brilliant Classics and Bridge Records (although the latter is owned by classical guitarist David Starobin). Certainly, if we are to name an instrument ‘Classical Guitar’, the CCMI is where I would expect to find it, right? Far from this, with the notable exceptions of articles about Terry Riley, Australian Chamber Music for guitar, a brief mention of contemporary Spanish composers, and the Aspen Music Festival, the gross of the content in Soundboard came from guitar-centric institutions, events and composers alien to the CCMI. To make things easier, lets define the CCMI as those institutions and venues most traditionally associated with classical music (concert halls, orchestras, music festivals) and those personalities (composers, conductors, instrumentalists) that populate them.
![andres segovia asturias concert andres segovia asturias concert](https://southernpercussion.com/wp-content/uploads/nc/p/1/8/7/4/6/18746.jpg)
![andres segovia asturias concert andres segovia asturias concert](https://www.veojam.com/thumb/1/1809_full.jpg)
Upon receiving the latest edition of Soundboard Magazine, I couldn’t help to notice the lack of Core Classical Music Industry (CCMI) content. After all, rock venues present rock guitarists, jazz venues present jazz guitarists, and classical venues present classical guitarists. I ponder that the modifier ‘classical’ defines the market in which the instrument is engaged. However, this can be really challenging when dealing with the ‘classical guitar’. As an artist manager and consultant, it is my job to be up to date with guitar market trends in order to find opportunities to further the careers of my clients.