American Orchestras that already regularly play music by POC

So there’s been a lot of chatter about diversity (or lack thereof) in Classical Music and Orchestras the past few weeks. Just some examples: Holly Mulcahy’s piece about diversifying orchestra audition excerpts; Eric William Lin’s discussion (with wonderful interactive graphs) of NY Phil’s rep over 175 seasons; Rob Deemer’s unveiling (in a little more formal venue) of the massive database of Women Composers that he and his students have been curating for some time; and, of course, Anne Shreffler’s piece about the Canon’s Invisible Hand which I discussed previously.

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The Invisible Hand of the Great White Male Musical and Artistic Canons

In my previous post I discussed how ridiculously easy it would be to avoid the Art of Monstrous Men, and the post before that discusses how to Decolonize the Musical Mind. The past couple of days I’ve come across some interesting pieces about diversity in the arts (or lack thereof). The first was a piece about bringing the art of women, long buried in storage of the Uffizi Galleries in Florence, to light; the second was a piece about how the High Museum in Atlanta tripled its Nonwhite audience in two years by, well, increasing the diversity in its programming, staff, and marketing; and the third is a rebuttal of one of the myths justifying the Great White Canon of Classical Music.

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How Easy is it to Avoid the Art of Monstrous Men?

Actually, it’s ridiculously easy.

I’ll just stick to music, since that’s what I usually focus on in this blog. And let me qualify the “ridiculously easy” by stating that I’m referring to the work of folks that may only be scratching the surface of those that remain unaccused–there may very well (and very likely) that there are many more “Monstrous Men” out there. Granted, we may all have different definitions of what constitutes “Monstrous Men” but expand or contract that definition for yourself at your leisure.

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The Art of Monstrous Men

CN sexual assault

In a poignant piece about reconciling enjoyment of art when the producer of that art is known to be morally or criminally suspect Claire Dederer has really gotten to the meat of the issue. While she doesn’t end up giving us a definitive answer to whether we should embrace the art while separating the artist from it her questions, reflections, and insights might reflect the contemporary zeitgeist for reparative (and possibly preventative) justice.

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Decolonizing the Musical Mind

A few weeks ago, I started re-reading Ngũgĩ wa Thiong’o’s “Decolonising the Mind: The Politics of Language in African Literature (1986) and for some reason this time reading it brought me back to the time when I quit playing the cello (right out of music school). A couple weeks ago, I mentioned here on my page, that I was slowly saying farewell to most Western Music (I’ll have to qualify that at another time). I mentioned some of those reasons in my latest blog post a couple months ago, and was in the middle of a couple of posts clarifying some things (one of which is this post).

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