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.
One of the hallmarks of the Classical Music Crisis viewpoint is the idea that Classical Music, as a field, is insular and cut off from what has been variously referred to as the “Wider World,” “Outside World,” or “Real World.” The purpose of this kind of rhetoric is to contrast the Classical Music field with the world-at-large by showing how cut-off and unconcerned it is with issues that loom in the world outside of it.
There have been a number of recent pieces about Classical Music and Clubbing over the past few months and a couple of hefty dissertations about the “new” phenomenon and the “Indie Classical Scene.” I’ve been meaning to write about this for some time (well, years, actually) as I’ve been playing clubs for a couple of decades now (for the most part with the cello as my main axe) and have seen the explosion of clubs during the late 90s and their subsequent decline over the past 10 years or so.1
Here’s a link to my list of Symphony Orchestras and Chamber Orchestras in the US formed since 2000. It’s by no means an exhaustive list and should be viewed as a “work in progress” (much as my similar list of US Opera organizations formed since 2000).
One of the things that is striking about the early accounts of Classical Music is how provincial it was. Until the 20th century we didn’t really conceive of Classical Music as one unified field. In other words, there was a lot of diversity in the genres and repertoire performed. This coincided with what we could call a fragmented audience along ethnic lines for various genres and repertoire.