Who will save classical music?

According to Michael Ahn Paarlberg (who, it seems pertinent of me to point out, identifies as Korean-American), the answer is probably asians:

“Music is a huge part of life for most Asian families,” says violinist Sarah Chang. “Most Asian children I know start taking violin, piano, or cello lessons from an early age.” If this sets them apart socially from their non-Asian classmates, Asian parents largely do not care. Their determination to raise musical kids can be single-minded and severe. One memorable passage in Battle Hymn of the Tiger Mother has Amy Chua threatening her daughter during piano practice: “If the next time’s not perfect, I’m going to take all your stuffed animals and burn them!” In Musicians From a Different Shore, University of Hawaii professor and pianist Mari Yoshihara describes her upbringing in postwar Japan. At the time, a confluence of mass production, rising incomes, and shrinking apartment sizes brought millions of upright pianos into urban households, where they became an emblem of middle-class status. Through her years of practice, she writes, “I never asked myself why I was learning music or whether I even liked playing the piano. Such questions never even occurred to me. Music was not something I had the option of liking or not liking; it was just there for me to do.”