Diversity in Classical Music has been a hot topic lately, especially given the recent announcements of upcoming seasons of organizations and the pushback many are getting recently. With the introduction of the Women Composer Database and the Composer Diversity Project, therea a push for aggregating disparate lists of composers to decenter the White Male Canon by highlighting all the Women and PoC (People of Color) composers that have long been existing in the tradition but have been systemically excluded from it except in the most tokenistic of ways.
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.
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.
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.