Classical music has long been regarded as a cherished cultural tradition, inspiring and captivating audiences for centuries. However, it is no secret that music, particularly classical music, has struggled with diversity, equity, inclusion, access, and belonging (DEIAB) issues throughout its history. In this blog post, I explore the issues of representation in classical music, shortcomings of current DEIAB efforts in the space, and hurdles for organizations to overcome to become more systemically inclusive. For each of these categories, I share ways for music organizations to thoughtfully work toward a more inclusive and just world.
Representation
The most fundamental aspect of DEIAB efforts in classical music rests on the need to expand representation. This encompasses diversifying not only the performers on stage but also the composers, conductors, administrators, educators, and critics behind the scenes. By actively seeking out and amplifying underrepresented voices, the classical music community can cultivate a more inclusive and authentic representation of the world we live in.
Initiatives such as blind auditions, which theoretically focus solely on musicians’ talent rather than their identities, attempted to help even the playing field by focusing solely on musical prowess in hiring and promotion practices. However, a recent case of tenure denial in the Kansas City Symphony has revived attention to the difficulties People of Color (POC) musicians still face in the classical music career path. I will expand a bit on the shortcomings of current diversity efforts later in this post.
Another critical tool in the DEIAB box is education and outreach. To create lasting change, efforts must begin at the earliest stages. By prioritizing DEI principles in music education, institutions can foster an environment where young musicians from diverse backgrounds can thrive. Organizations like Play On Philly, which strives to provide underserved children in Philadelphia with a transformative music education experience, have demonstrated the power of providing equal access to musical opportunities for all.
In addition, collaboration between classical music and community organizations can help bridge gaps and reach audiences that have been historically underrepresented in classical music. Outreach programs, such as concerts in schools, community centers, and public spaces, can expose a wider range of people to the beauty and richness of classical music. However, simply putting these events on the season calendar isn’t enough. Organizations must take the responsibility of recruiting audiences as seriously as they take the responsibility of recruiting their musicians and staff. Classical music has not and will not abide by the if you build it, they will come adage. Perhaps a better version might be if they know you, they will come. Organizations must bear the responsibility of relationship building in communities they underserve if they ever hope to truly expand and diversify their audiences.
Shortcomings
I spend the vast majority of my academic and professional musical careers focused on these ideas, and in that time, have observed a few notable shortcomings of the average DEIAB effort.
While there has been notable progress in recent years, it is essential we continue to critically evaluate the state of DEIAB efforts in classical music. One key shortcoming is the tendency towards tokenism, wherein individuals from underrepresented backgrounds (primarily Black creators) are included merely to give the appearance of diversity without addressing systemic issues that their communities and other communities face. Simply adding a few diverse faces to orchestras or featuring a handful of works by POC composers does not fundamentally challenge the underlying structures that perpetuate inequality.
On that note, I also want to address one critical point that most organizations need to face: DEIAB means more than just Black voices, and more than including them in one particular instance. Let me be eminently clear – Black voices need and deserve amplification in our musical spaces, both on the surface and systemic levels. However, I have seen organization after organization set out to embrace DEIAB efforts, program a few works by Black composers, tout the hiring of a Black staff member/musician, and then return to their regularly scheduled programming.
Most organizations that fall prey to this superficial diversity effort are limiting their DEIAB focus on surface-level diversity without addressing the power dynamics and inherent biases that persist within classical music institutions. Merely increasing representation without actively dismantling systemic barriers and creating inclusive environments can lead to individuals feeling tokenized or facing additional pressure to conform to established norms and expectations. It is crucial to move beyond diversity as a numbers game and foster an inclusive culture that values and uplifts diverse perspectives.
Furthermore, the burden of responsibility often falls on musicians from underrepresented communities to advocate for change and push for diversity. This places an unfair burden on individuals who are already navigating a challenging industry and can lead to burnout and frustration. True progress requires collective responsibility from all stakeholders, including administrators, educators, conductors, and audiences, to actively engage in the work of creating a more inclusive and equitable space.
There is also a need to critically examine the power structures and hierarchies within classical music institutions. Often, decision-making processes and leadership positions remain predominantly occupied by individuals from privileged backgrounds, which hinders the meaningful implementation of DEIAB initiatives. Empowering and promoting diverse voices in positions of authority and ensuring that decision-making processes are transparent and inclusive are essential steps toward creating lasting change.
Hurdles
With these pitfalls in mind, there are several significant challenges that organizations might consider addressing in their journey towards becoming more systemically inclusive organizations.
One of the primary hurdles lies in the deeply entrenched traditions and historical biases within the genre. Classical music has long been associated with a narrow cultural and socio-economic demographic and has highlighted the cultural norms associated with those elite social classes. One common example is the fundamental tenets we assume are proper audience etiquette. Not clapping between symphonic movements, remaining silent through the duration of a musical performance, and many other behavioral assumptions are rooted in these elite cultural discourses. If we truly want classical music to be diverse, we have to embrace diverse ways of cultural participation as equal, valuable, and valid.
Another challenge lies in the pipeline problem, which refers to the lack of access and opportunities for underrepresented groups to pursue classical music education and professional careers. Limited access to quality music education, financial constraints, and other systemic barriers often restricts individuals from marginalized communities from pursuing classical music as a viable career option. Breaking down these barriers involves expanding music education programs, offering scholarships and financial support, and actively seeking out talent from diverse backgrounds.
The pipeline problem has resulted in its own secondary problem – the lack of diverse role models and mentors within the classical music institution. Representation does matter, and without visible figures who reflect the diversity of society, aspiring musicians may struggle to envision themselves succeeding in the field. Creating mentorship programs and promoting the achievements of diverse musicians, conductors, composers, and administrators can inspire and guide aspiring talents, showcasing a range of paths to success within classical music.
In conclusion, the journey towards diversity, equity, inclusion, access, and belonging in classical music is ongoing and faces many challenges. Tokenism, surface-level diversity, the burden on marginalized musicians, power imbalances, and the need for inclusive cultural participation are concerns that must be centered in organizational diversity efforts. All organizations must strive to go beyond superficial efforts, dismantle barriers, and promote both transparent decision-making and inclusive leadership efforts. By taking these and many, many more actions, classical music organizations can begin creating an inclusive and vibrant future that reflects the diversity of humanity and inspires generations to come.
Baker Purdon is a Ph.D. student and University Fellow in Music Education and Choral Conducting at Temple University. In 2022, Baker was awarded the Presser Foundation Graduate Music Award, which enabled the recording of his debut album, Walking Through the Valley: Choral Music from Black Composers, 1919-2022. This album has been recognized with multiple American Prize nominations. He was also named the inaugural Presser Foundation Graduate Music Fellow for 2022-2023. In this role, he wrote numerous essays reviewing regional arts performances and discussing the history and future of classical music with an emphasis on organizational DEIAB efforts. Baker’s research on the imposter syndrome in music education has received international attention and has been shared at numerous conferences, including the National Association for Music Education’s Biennial Convention, the 13th International Conference for Research in Music Education, the American Educational Research Association’s Annual Conference, as well as numerous regional and state conventions. Baker is actively developing research and recording projects centered on the choral contributions of Black Americans, especially the choral works of Harry T. Burleigh. Outside of his academic pursuits, Baker is an active pianist and vocalist and is the Director of Music at the Unitarian Society of Germantown. You can read more and contact him at www.bakerpurdon.com.
