Musicians of color in classical music
In May I wondered “What happens to classical musicians in the Age of Corona?”:
The audience for live classical music and opera is perilously close to the 82-year-old average age of a Covid-19 victim in Massachusetts (source). Concert venues are shut down by orders of the governor, First Amendment right to assemble notwithstanding. Even if it were legal to host a concert, would the core of elderly patrons show up?
The New York Times has an answer: the musicians become more diverse, at least in terms of skin color (but if, for coronasafety, there is a limit of one audience member at a time, there can’t be too much skin color diversity in the audience!). “To Make Orchestras More Diverse, End Blind Auditions”:
American orchestras remain among the nation’s least racially diverse institutions, especially in regard to Black and Latino artists. In a 2014 study, only 1.8 percent of the players in top ensembles were Black; just 2.5 percent were Latino. At the time of the Philharmonic’s 1969 discrimination case, it had one Black player, the first it ever hired: Sanford Allen, a violinist. Today, in a city that is a quarter Black, just one out of 106 full-time players is Black: Anthony McGill, the principal clarinet.
The status quo is not working. If things are to change, ensembles must be able to take proactive steps to address the appalling racial imbalance that remains in their ranks. Blind auditions are no longer tenable.
Related:
- “A Famous Study Found That Blind Auditions Reduced Sexism in the Orchestra. Or Did It?” (Reason) : In May, Columbia University statistician Andrew Gelman took a deep dive into the study. He described them as “not very impressive at all,” and had great difficulty trying to locate the 50 percent statistic within the modest findings. “You shouldn’t be running around making a big deal about point estimates when the standard errors are so large,” he wrote. “I don’t hold it against the authors—this was 2000, after all, the stone age in our understanding of statistical errors. But from a modern perspective we can see the problem.”
- Eurovision Song Contest: The Story of Fire Saga (starring Will Ferrell, on Netflix, in case you are tired of old recordings of older music)


















