This inaugural installment launches a five-part series that delves into classical music and its potential to foster social justice and create a more inclusive environment for diverse audiences.
Surveys by the National Endowment of the Arts (NEA) and the Survey of Public Participation in the Arts provide insight on performance attendance trends in the United States. From 1982 to 2008, classical performance attendance among adults (this includes Classical music, opera, ballet, modern dance, plays and musicals) declined by almost 4%. In 2023, the NEA published data on adult participation in the arts during the COVID-19 pandemic. The study indicates a statistically significant decline in adult attendance at classical music performances in 2021-2022 compared to 2017. As of 2022, the NEA reports that classical music performance attendance was 4%, a -5% difference from 2008. While this alone may not be concerning due to the impact of the pandemic, it is noteworthy that attendance for non-classical music performances significantly increased during the same period (NEA, 2023). The COVID pandemic likely accelerated a downward trend in classical music attendance, but research suggests that socio-cultural factors have a more lasting impact. The intersectionalities of the socio-cultural factors confound the issue and complicate strategic planning for classical music organization. This blog series will highlight key factors that classical music organizations and music education departments should consider when enhancing their outreach, engagement, and audience following.
Part 1: Race, Culture and the Implied Social Hierarchy
Classical music is widely regarded as “high art,” designed to cultivate a burgeoning middle class and reinforce a social hierarchy steeped in Eurocentric cultural superiority. From its proliferation during the European colonization, the genre has largely catered to the aristocratic elite, marketed to a narrow audience while imposing its customs on those outside its influence. Amidst the divisive systems of racism, classism, and sexism, the genre was able to flourish during European colonization. Racism, after all, monetizes and assigns value to race and culture, allowing individuals of color to ascend socially only by conforming to the standards of “high-class” society. This social hierarchy, however, often remains hidden in plain sight, intricately woven into societal norms and perpetuating a subtle oppression that many fail to recognize.
Authentic or Performative?
A recent study revealed that orchestral performances of classical music by female and BIPOC composers surged by 400% from 2015 to 2022. While most classical music performances still feature works by white male composers, the increase in diversity has been encouraging. However, it’s essential to consider the broader social context: Significant social activism and unrest characterized this period in the U.S. The Black Lives Matter movement and various social justice initiatives brought attention to the voices of the unheard and underrepresented. In response, many organizations sought to enhance their programming to be more socially equitable. But the question remains: was this effort genuinely equitable, or simply a performative gesture? Music organizations frequently feature works by female and BIPOC composers during themed presentations, such as Black History Month or women composer showcases. However, by programming three or more selections from a single composer, they limit the opportunity to diversify the concert lineup.
Consider a recent example of a season performance schedule from a prominent orchestra. The lineup predominantly featured works by renowned white European composers, but one concert stood out: an All-American composers’ performance that included Bernstein’s Dance Suites from West Side Story and a well-known Aaron Copland Suite. While these classics may attract seasoned patrons, this choice highlights missed opportunities. For instance, Duke Ellington’s symphonic piece Night Creature, which premiered in 1955, offers similar jazzy elements to Bernstein’s masterpiece. Incorporating Ellington’s work would have unveiled one of America’s most significant African American composers, highlighting the musical connections of that era and advancing equitable practices in classical music. The organization touts its commitment to Inclusion, Diversity, Equity, and Accessibility, leading one to expect greater inclusivity in its music programming. Thus, I ask: Are these efforts truly equitable or merely performative gestures?
Oppressive Practices Hide in Plain Sight
If classical music organizations genuinely wish to diversify their audiences, they must scrutinize every aspect of their institutions that a deeply ingrained social hierarchy might influence. Often, the most oppressive elements lurk in plain sight, eluding our gaze. Terms like “traditional,” “high art,” “canon,” and “masterworks” may not immediately strike us as oppressive, yet their implications are unmistakable. For many, these words evoke nostalgia—like chicken soup for a cold, the Macy’s Thanksgiving Day Parade on a crisp November morning, or the comforting glow of A Christmas Story flickering on the screen on Christmas Eve. But their hierarchical nature reveals itself when we ask, “Why do we elevate these musical works above others?” Why is Aaron Copland celebrated while his teacher, Nadia Boulanger, remains in the shadows? Felix Mendelssohn’s Violin Concerto in E is indeed splendid, yet why not shine a light on Coleridge-Taylor’s violin concerto, Legend? The questions are not just academic; they strike at the heart of our collective musical narrative and challenge us to reckon with who we truly celebrate in our cultural canon.
Western Eurocentric culture has long demonized the musical traditions of the global majority while simultaneously appropriating and sanitizing their styles. Classical organizations have played a significant role in upholding this oppressive system, and to heal these deep-seated wounds, we must embrace a process of transparency and thoughtful reimagining. This isn’t just about inclusion; it demands a thorough overhaul that genuinely amplifies diverse voices. BIPOC and underserved communities deserve nothing less than a seat at the table, where their stories and sounds can be celebrated and respected.
