Racism in Classical Music

Introduction
Conventional classical music has been characterized as European and elitist. Many of the early classical musicians and instrumentalists have been predominately white and male. Although this patriarchal system is not as prevalent in present classical music orchestras, racial and gender bias still exists in the musical genre. The small number of African Americans and women in classical music proves that the musical genre has significant racist and sexist elements in its audition process. Essentially, this study shows the attitudes and perceptions of people toward race and sex in classical music.
Since its emergence as a popular musical art form in the 19th century, classical music has been perceived to represent a particular social and economic class in America. Many of the early perceptions link the classical art form to the wealthy, European upper-class society. Many working-class people had minimum access to classical music concerts and instruments. Thus, the perception of classical music as elitist music is still widely held in the classical music genre. The lack of diverse cultures in the orchestra or attending the concerts shows that classical music still fosters a strict socio-economic culture, which excludes many minorities and women.
One of the reasons why there are minimum minorities and women in classical music is because the art form still holds conventional European values. Classical music still conforms to the same elitist, white male dominated system that alienates minorities and women in many classical music auditions. As evidenced by the Vienna Philharmonic Orchestra, there are minimal number of minorities and women in the orchestra, which is composed mainly of white males. Yet many critics assert that there are a number of reasons for the low prevalence of minorities and women in the orchestra, which include factors associated with musical training, orchestra uniformity and quality.

Methods
After thorough research, surveys were provided to participants to determine the attitudes and perceptions of race and sex in classical music. The participants included 30 males and females of different races (10 African Americans, 10 whites, and 10 Asians) with classical music backgrounds. The participants were asked a variety of questions related to gender and racial bias in classical music, which included:
1. What stereotypes do you encounter during an audition?
a) Race
b) General playing
c) Where you are from/Where you studied
d) What repertoire you know
2. If you were denied a top position in the orchestra, why do you feel you were excluded?
a) Race
b) Where you are from
3. Which orchestra do you feel has the most gender and racial bias?
a) New York Philharmonic
b) Vienna Philharmonic
c) London Symphony
d) Russian orchestras
4. Have you ever been in a situation where you were seated in the back of the section or were
not accepted to a program and you believe that the decision was partially based on your color
or gender?
a) Many
b) Some
c) It has happened (once or twice)
d) Never
5. Have you ever been denied acceptance to study with a new teacher, conservatory or music
school based on your gender or race?
A) Many
B) Some
C) It has happened (once or twice)
D) Never
5. Where did you receive the worst treatment based on your gender or race?
A) USA
B) UK
C) Other Countries
6. Where did you receive the best treatment based on your gender or race?
A) USA
B) UK
C) Other Countries
7. Do you feel that racism in classical music has decreased over the last decade?
A) Definitely
B) Somewhat
C) Not really
D) Not at all
8. Has anybody hurt you by words or by actions so badly to make you seriously consider leaving
classical music?
A) Definitely
B) It has happened more than once
C) Maybe Once
D) Never
9. Have you ever attended an audition where you have seen people being separated by race or by
gender?
A) Definitely
B) It has happened more than once
C) Maybe once
D) Never
Results
After collecting and evaluating the surveys, I found that people had diverse attitudes and perceptions regarding gender and race in classical music. More than half of the African Americans (both male and female) felt that their race played a significant factor in attaining positions in many orchestras in the U.S. and U.K. However, more African American women felt that they were stereotyped during auditions based on their sex than African American males. Both African American females and males felt that racism had not decreased over the past ten years. More than half of the African Americans felt that the Vienna Philharmonic was the most racist and sexist orchestra.
More than half of the white participants (male and female) felt that their race did not play a factor in attaining positions in orchestras in the U.S. or U.K. However, more white women felt that they were stereotyped during auditions based on their sex than white men. But more white men felt that racism had decreased over time than white women. Half of the white participants felt that the Vienna Philharmonic was the most racist and sexist orchestra.
Less than half of the Asian participants felt that their race played a significant factor in attaining positions in orchestras in the U.S. and U.K. More Asian women than Asian men felt that they were usually stereotyped during auditions based on their sex. Half of the Asian participants felt that racism had not decreased over the past ten years. More than half of the Asian participants felt that the Vienna Philharmonic was the most racist and sexist orchestra.
Overall, the results reveal that racism and sexism play a significant part in classical music audition processes. The high number of African Americans in the survey who experienced forms of racism in classical music orchestra further substantiate the fact that racism is still prevalent. The large number of women of all races (African American, white and Asian) who feel that their sex plays a role in their audition process shows the gender bias present in classical music orchestras. Thus, the study proves that racial and gender bias continues to define many orchestras in the U.S. and U.K.
Discussion
Racism in contemporary classical music is one of the main controversies of the art form. According to a study done by The New York Times, less than two percent of classical musicians are African American (Rothstein, 1993). The lack of black musicians, instrumentalists and composers in classical orchestras show the racial disparities in classical music. It also proves that classical music is deeply rooted in racism and continues to represent elements of racial bias.
Lynn Morrow, African American chorus director of the Oakland Symphony Chorus, realizes the present racial biases that stigmatize the classical music audition processes. She notes, “We are facing the same old issues. There are biases spoken and unspoken in casting. When you cannot get cast for anything other than Porgy [in Porgy and Bess], you’re locked out. That’s the feeling people have, and it is some people’s experience” (Serinus). She points to the classical musical Otello where white actors played the Moor to show the strict exclusion of black classical artists in past classical musicals. She notes that present classical music still is not open to diversity, and African American classical singers and instrumentalists are still almost nonexistent.
People are always bringing up the story of temperamental Kathleen Battle without relation to the historical context in which she built her career. You have to remember that she was the only black person in virtually every professional situation. In my encounters with her, she was extremely generous and gracious with young singers. No one considers what people of color have to go through before they even have a chance to walk onstage (Serinus).
However, critics point to a number of different factors to show why there is racial and gender bias in most classical music orchestras. For instance, critics argue that the reason why there is a lack of African Americans in classical music is because they lack the early extensive training required to master the art form. According to Samuel Lipman, music critic, “though there are now some impassioned advocates of arts education, there has been minimal pressure either in or out of black communities for children to devote themselves early to instrumental study; this is true even in the study of jazz, which evolved out of black musical culture (Rothstein, 1993).”
However, some critics believe that the lack of African Americans in classical music reflects societal belief that African Americans do not have the intellectual ability to comprehend the complex art form. Many black musicians assert that people in the classical art industry intentionally exclude African Americans from the training and practice critical to learning and succeeding in classical art. Also, other critics point to the dominant European ideals and values that are rooted in classical music. Due to the absence of African American culture in classic art, many blacks find it difficult to connect and understand the musical art form (Rothstein, 1993). Thus, the lack of diversity in classic art contributes to the minimal number of African Americans in classical music orchestras and concertgoers.
Gender bias is another prevalent factor in classical music. The lack of women in classical orchestras substantiates the fact that classical music is predominately white and male, which reflects its traditional patriarchal concept. For instance, the Vienna Philharmonic Orchestra, one of the most prestigious and widely recognized orchestras in the world, is criticized for its gender bias. Women only account for two percent of the Vienna Philharmonic Orchestra, which is mainly composed of white males.
For instance, it took over 20 years for Anne Lelkes, a female harpist of the Vienna Philharmonic Orchestra, to become an official member of the orchestra. The present Philharmonic Orchestra only consists of one female member, and women represent less than one percent of the members in the Philharmonic Orchestra. The ratio of men to women has remained the same for the past ten years, 136 to 1. These alarming statistics further show the exclusion of women in the orchestra and the sexist system prevalent in classical music (Osborne, 2006).
The audition process for the Vienna Philharmonic provides vivid insight into the apparent gender and racial bias of the orchestra. A screen is held during the first round of the auditions, which allows the ensemble to view and evaluate the physical appearance of a prospective member. Although the visual process is not clearly defined, the lack of minorities or women in the orchestra obviously shows the difficulty that women and musicians encounter during the auditions. Many orchestra ensembles hold a visual audition to see how the musician looks playing the instrument, but the practice is extremely unfair to women and minorities, who are scrutinized more harshly and experience many problems in attaining acceptance into the orchestra.
The Vienna State Opera Orchestra also shows the common practice of gender bias as over ten times as many men have obtained permanent positions in the State Opera Orchestra since it began admitting women. Also, the rate of firing for women is six times higher than men. The Vienna Philharmonic has also excluded minorities from membership with the orchestra. For instance, in the last ten years, the orchestra hired its first two people of color (Asians). The ratio for minorities in the Philharmonic is 136 to 1 and the dismissal rate for minorities is 50 percent (Osborne, 2006).
The following related studies show the prevalence of racial and gender bias in classical music:
Blind Prejudice
The study shows the how females are stereotyped in classical music auditions based on their physical appearances. Four white female musicians who were equal in terms of musical performance were chosen for the study. The musicians dressed in three different outfits (concert dress, jeans and nightclub dress) were filmed playing their instruments. The female musicians were also filmed wearing a black suit in the dark and the only thing visible was a piece of white tape and the playing of the instrument. Thirty musicians were then used to view each of the filmings of the female musicians.
The results showed: “For technical proficiency, performers in a concert dress were rated higher than if they were in jeans or a clubbing dress, even though the actual audio performance was exactly the same every time (and played by a separate musician who was never filmed). The results for musicality were similar: musicians in a clubbing dress were rated worst” (Goldacre, 2010). The study also notes that in the 1970s and 1980s, performance assessments or auditions were changed to use screens to hide the physical identity of the musician. This had positive effects on the hiring process as female musicians in the top five US symphony orchestras increased from 5% in the 1970s to around 25%. The study also revealed that women being hired at auditions without screens were found to be several times more likely to be hired when nobody could see that they were females.
Art is Just an Excuse
This study shows the prevalence of gender bias in international orchestras such as the Vienna Philharmonic. Many international orchestras believe that uniformity in gender and race produce quality musical artistry, thus including minorities and women in classical music would disrupt the unity. The study includes interviews from the West German State Radio, which included a sociologist of isocratic social groups and three members of the Vienna Philharmonic. Each interviewee provides their perspectives regarding women in the orchestra, which help to substantiate the fact that gender bias exists in classical orchestras.
One member of the Vienna Philharmonic admitted that the orchestra employs a sexist and racist system, but he argues that the exclusion of women and minorities in the Vienna Philharmonic is justified because they do not fit into the overall character and presence of the orchestra:
So if one thinks that the world should function by quota regulations, then it is naturally irritating that we are a group of white skinned male musicians, that perform exclusively the music of white skinned male composers. It is a racist and sexist irritation. I believe one must put it that way. If one establishes superficial egalitarianism, one will lose something very significant. Therefore, I am convinced that it is worthwhile to accept this racist and sexist irritation, because something produced by a superficial understanding of human rights would not have the same standards (Osborne, 2006).
Other members of the sexist and racist institution of the Vienna Philharmonic point to sexuality and maternity as valid reasons to exclude women from many classical orchestras. Many critics believe that these qualities of women will only tarnish the image of the orchestra and disrupt the “emotional unity” of the orchestra. One critic noted:
Pregnancy brings problems. It brings disorder. Another important argument against women is that they can bring the solidarity of the men in question. You find that in all men´s groups. And the women can also contribute to creating competition among the men. They distract men. Not the older women. No one gives a damn about the older ones. It is the younger ones. The older women are already clever, they run to you! But the 20 or 25 year olds... They would be the problem. These are the considerations. In a monastery it is the same. The alter is a holy area, and the other gender may not enter it, because it would cause disorder. Such are the opinions (Osborne, 2006).
Other members of the all-white male classical orchestra note that women simply do not fit into the overall look and superior quality of the orchestra. They feel that women, who are mostly harpists, in the ensemble should not be noticeable. Their position should be closer to the edge as not to disrupt the overall unity of the all-white male ensemble: “There, I sense very strongly and simply that only men sit around me. And as I said, I would not want to gamble with this unity” (Osborne, 2006).
Essentially, both studies reveal that gender bias is a prevalent theme in many classical music orchestras. It also shows that classical music is a strict conventional art form that excludes many minorities and women. Through research, surveys and interviews, the presence of racism and sexism are consistently revealed in many classical orchestras. Thus, the lack of minorities and women in classical music proves that the all-white, male dominated trend still exists.
References
Goldacre, Ben. (2010 September 4). Blind prejudice. Bad Science. Retrieved from
www.badscience.net.
Osborne, William. (1996). Art Is Just an Excuse: Gender Bias in International Orchestras.
IAWM Journal. Retrieved from www.iawm.org/articles.
Osborne, William. (2006 December 12).Tokenism and Firings. Classical Music Journal.
Retrieved from http://www.classicalmusicjournal.com.au.
Rothstein, Edward. (1993 April 25). Classical View; Racism Is Only Part of the Story. The New
York Times. Retrieved from www.nytimes.com.
Serinus, Jason V. (2009 May 12). Looking the Other Way: Race in Classical Music. The San
Francisco Classical Voice. Retrieved from http://www.sfcv.org.