It's Time To Let Classical Music Die

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jserraglio
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It's Time To Let Classical Music Die

Post by jserraglio » Sat Jun 29, 2019 6:36 am

I found this manifesto reprinted elsewhere, but here is a link to its original publication:

https://nmbx.newmusicusa.org/its-time-t ... music-die/

Disagree with most everything in it, but thought that its analogical thinking revealed the iconoclastic mindset of some millennials today.


_________________________________________________________

It's Time To Let Classical Music Die
By Nebal Maysaud https://nebalmaysaud.com/about/
June 24, 2019

Introduction

There comes a point in some abusive relationships where the victim wakes up out of their Stockholm syndrome and learns that they need to plan an escape. As you communicate with others and you get a taste of freedom, you learn that the force you thought was protecting you is in truth keeping you in danger.
Western classical music is not about culture. It’s about whiteness.
For those who haven’t encountered abusive relationships, you may support the abuser, or wonder why the victim doesn’t just leave. But you don’t know what it’s like to live in a world where you can’t tell truth from myth.
For the victims who aren’t ready, you may have an urge to push away those of us seeking to help you and stay with your abuser, believing them to be a source of protection.

Unfortunately, not everyone can escape. But having the knowledge that your abuser is an abuser itself can be freeing. It can help you find the next step in your journey towards liberation. But you need a community to fall back on. You need people to talk to so that they can keep you safe, so that they can help you understand the truth, and so that they can teach you the abuser’s techniques and how to fight them.

My fellow musicians of color: it is time to accept that we are in an abusive relationship with classical music.

Classical Music is Inherently Racist

In my previous articles, I laid out my experiences and reasoning for coming to this conclusion. I started with “Am I Not a Minority?” to explain the everyday racism people of color experience and how it manifests on an institutional level. If you haven’t read it already, I encourage you to explore how institutions uphold their power by choosing which minorities to give access to.

The few scraps given to minorities are overwhelmingly white–occupied by white cisgender women or LGBT+ individuals. The few PoC who are given access to institutional space are most often light skinned and non-Black while also exoticised and tokenised.

And that led me to my second article, “Escaping the Mold of Oriental Fantasy“–a personal history of isolation and colonization, of how Western classical music participates in the act of destroying culture and replaces it with its own white supremacist narrative.

Finally, I shared my attempts at reviving my culture and my tradition, along with the barriers I faced on this journey. My third article, “I’m Learning Middle Eastern Music the Wrong Way,” chronicles the difficulties (and the near impossibility) of engaging with my own cultural musical practices in a proper, authentic way.

From three angles I shared my attempts at being an authentic composer. These articles bring to light the many ways in which the dreams of low-income people of color are obstructed in the Western classical tradition.

Western classical music is not about culture. It’s about whiteness. It’s a combination of European traditions which serve the specious belief that whiteness has a culture—one that is superior to all others. Its main purpose is to be a cultural anchor for the myth of white supremacy. In that regard, people of color can never truly be pioneers of Western classical music. The best we can be are exotic guests: entertainment for the white audiences and an example of how Western classical music is more elite than the cultures of people of color.

What to Do About Our Love for Classical Music?

It’s not uncommon to love your abuser. I know the experience, and can understand how hard it is to leave. Despite all that classical music has done to me, I still can’t help but marvel at the religious splendor of Bach’s works for organ. Nor can I help but weep at Tchaikovsky’s raw expressive power.

I will forever love my favorite composers. It is possible to be critical about the way classical music is treated and to adore the individual works which inspire you at the same time. I am not making a judgment call on specific works in the canon, but instead their function in modern classical music institutions.

And there is still the question of what to do about the skills these composers taught us.

I would like to return to the analogy of the abusive relationship.

Many of us have learned a lot from our abusers. Some abusers are even our parents. Their abuse can follow you wherever you go, and escaping them entirely may be impossible. Whether we like it or not, we are forever changed by our abuse.

This abuse can appear as a scar. We will need each other to heal from the trauma. But we also need to survive and nurture the spirit which requires us to create.

While most composers of color are responding to a calling, that calling is to create artwork in our own voices not to behold ourselves to the social construct of Western classical music.

We can do that using the tools we learned as classical composers without contributing to our own abuse. As I shared in my previous article, we can get to a better understanding of our own cultural traditions little by little if we just start exploring.

In order to leave our abusive relationship, we need a community.

It’s Time to Let Classical Music Die

Western classical music depends on people of color to uphold its facade as a modern, progressive institution so that it can remain powerful. By controlling the ways in which composers are financed, it can feel like our only opportunities for financial success as composers are by playing the game of these institutions.

It’s time for us to recognize that engaging with these institutions, that contributing to the belief that our participation in composer diversity initiatives is doing anything to reshape the institution of classical music, and that classical music is an agent of cultural change instead of a placeholder to prevent composers of color from forming our own cultures, is ultimately furthering colonization and prevents us from creating artwork capable of real, genuine expression.

Writing for an audience of rich white people is no longer a priority of mine. Instead, I want to create music for my community. Instead of contributing to white culture and helping them erase my own narrative, I want to use my ability to create art to keep my culture alive.

As long as people of color are making art, culture stays alive.

This mission is entirely against the nature of white supremacy, which seeks to replace non-white cultures with their own fantasies. Therefore, I will not find support in this endeavor.

Let’s Create Art for Our Own Communities

My fellow musicians of color, we need each other. While I wish to break away completely from this system that I have poured my soul into only to be diagnosed with PTSD in return, I admit that we can never fully break from classical music as long as capitalism exists.

White gatekeepers still control funding. And we are fortunate enough to have a few allies in these positions. We will need to cooperate in order to stay afloat. It is possible to engage without inflicting cultural harm. Simply knowing when you’re being tokenized is a major step in the direction towards decolonization.

But while we’re getting our funding, we need to create our own communities. We need to find each other and make music together. We need to ally ourselves with artists from all walks of life in order to create the cultures whiteness has tried to take from us.

We have a massive task ahead of us. It’s not easy to connect ourselves, much less to connect our art and experiences to our own communities. But I believe that we were called to music for that purpose, not to entertain elite guests.

What Does a Post-Classical Community Look Like?

I am not advocating for the formation of a formalized group. Formalizing ourselves runs the risk of trapping ourselves within the nonprofit industrial complex. It’s essentially using the tools of our oppressors to try to liberate ourselves. Instead, we need to look at how our cultures have historically gathered, and use active decolonization as a larger community to decide how we want to organize ourselves.

I have no clue what that coalition will look like. If it were possible for one individual to organize it, it would have been done already. But as the creative minds of our generation, I am sure we can find a solution so long as we start the conversation with the belief that a future free from the constraints of classical music is possible.

Imagining a Post-Classical World

Instead of stealing from other cultures to create a facade of white supremacy, cultures from around the world are able to present the endless beauty and infinite histories of our traditions.

This freedom will extend to everyone, including white musicians who will be more prepared to handle the traditional music and practices of their own ancestors. White musicians will come to realize that they have given up a lot to be white, and that they have a culture too that they can explore. White composers can spend time analyzing their own history and influences on that history – i.e. Gregorian chants and their influence from the Middle East; Pagan and other minority religions; minority histories within Europe; or traditional Celtic, Greek, and Italian music. A lot of has been explored in European tradition, but since the Romantic era, too many works have been explored from the belief that white Western culture is superior to all others. Abandoning this vantage point can lead white composers to explore a more nuanced, more accurate history than the one presented to us.

White classical musicians don’t need to take stories from other cultures, they can go back to the point before they came to be known as white and collaborate with other composers to explore a more accurate history and culture of their own people.

This community, this coalition based on ideology, will be run as it always has: not by the ones with the most institutional power, but those with the least. We will no longer depend on white elites to fund diversity initiatives and hope it trickles down. Instead, we will be guided by the belief that when our most oppressed are liberated, we are all liberated.

I am referring specifically to LGBT+ Black women, who manage to successfully create these spaces every day. Everything I have learned about social justice is rooted in Black liberation work by LGBT+ Black women, and it is time that we as non-Black people of color and other allies recognize that our liberation will not come without theirs.

My Plan

I have pondered on how to bring this community to fruition. It is something I have struggled with, and I want to share ways I am personally and professionally mitigating it.

Not much action needs to change upon this realization. I am still accepting commissions and am still looking for a future learning with other composers and even applying to graduate school.

By knowing how Western classical music treats me and composers like me, I do not want to limit myself and my opportunities, and I don’t think I have to. I believe you can participate in this system to get what you need without actively declaring yourself a member.

I have gotten through the cognitive dissonance of calling for a break from classical institutions and working with them through viewing myself as someone who is outside of their system and viewing other gatekeepers in classical music not as friends or peers, but as clients who can help me in my career.

This way, I get what I need from them to further my career without putting myself in danger.

This way of thinking is a stark departure from a practice of making your clients your best friends. Many of the musicians I know interact with no one else but their circle of colleagues. I personally find that practice to be a way of implicitly making people of color feel unsafe and unwelcome. By keeping my distance, I not only keep my mental health under control, but I also get the chance to connect with my own communities and give them access to an art they never thought they needed.

Other musicians have taken different paths. Some people create community in their universities, some manipulate their positions of tokenism, and others work to find and heal with as many musicians of color as possible. You need to find what is best for you, and work with your community so that everyone is working to build and defend this coalition with their strengths.

Conclusion

Our movement will still have white allies present. There are those (although very few) who are willing to put themselves in danger and go against the institutions. Others are willing to work within institutions to protect and defend us people of color as we create our coalition. There are already those ready to leverage their privilege to establish a more equitable future. Because they too have learned that they will not be liberated unless everyone is liberated.

While some might argue that this coalition is impossible, that it will be stopped or that change from within is more likely, I would like to point out that this process is already happening.

People of color are done being tokens and our calling to create is not being fulfilled. We are already connecting with communities and building a future free from the confines of our boxed-in genre. Every day, people of color are conversing with each other about possible ways to combat racism in the field of music, and these coalitions form as a natural result.

My hope with this article is to put a name to this process. I want to use whatever platform I access to connect with musicians of color. Whiteness gentrifies, and that means that we will have white ears in the room. This article, for example, is going to be read by many white people before other people of color have a chance to read the message. But in a world where we are surrounded by whiteness, we need the courage to share our voices and speak the truth no matter how much the white institutions disapprove of our message.

If just one musician of color finds hope and inspiration to work towards a future independent of the institutions they now recognize as their abusers, I will have done my job.

So my fellow musicians of color, please reach out to me, and let’s build a future where we are liberated.

Rach3
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Re: It's Time To Let Classical Music Die

Post by Rach3 » Sat Jun 29, 2019 8:54 am

Now I finally understand Mahler's 7th.

As a poster at another group said: " Some people think too much and talk too much."

John F
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Re: It's Time To Let Classical Music Die

Post by John F » Sat Jun 29, 2019 9:14 am

According to the blurb on New Music USA, "Nebal Maysaud is a queer Lebanese composer based in the Washington D.C. Metro Area. Since buying their first notation software in 2009, Nebal (pronounced [niˈbæ:l]) has grown to become an impactful, socially minded composer." Yeah, right.

The strangest thing about this load of tripe is that New Music USA saw fit to publish it. According to them, "Our mission is to support and promote new music created in the United States... We’re truly committed to serving the WHOLE new music community." This is a strange way to show that so-called commitment.
John Francis

maestrob
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Re: It's Time To Let Classical Music Die

Post by maestrob » Sat Jun 29, 2019 10:51 am

John F wrote:
Sat Jun 29, 2019 9:14 am
According to the blurb on New Music USA, "Nebal Maysaud is a queer Lebanese composer based in the Washington D.C. Metro Area. Since buying their first notation software in 2009, Nebal (pronounced [niˈbæ:l]) has grown to become an impactful, socially minded composer." Yeah, right.

The strangest thing about this load of tripe is that New Music USA saw fit to publish it. According to them, "Our mission is to support and promote new music created in the United States... We’re truly committed to serving the WHOLE new music community." This is a strange way to show that so-called commitment.
What you said, John. Tripe indeed.

Modernistfan
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Re: It's Time To Let Classical Music Die

Post by Modernistfan » Sat Jun 29, 2019 1:11 pm

I would not dismiss this as "tripe," but there are a number of serious issues here. First of all, there has to be a significant distinction made between the existence of racism among practitioners of classical music and more generally, in the commercial structure of classical music, on one hand, and, on the other hand, the purported racism of the music itself. Regarding the first of these (​racism among practitioners of classical music and more generally, in the commercial structure of classical music), there can be no doubt. All I have to do is just to name a few names: Richard Wagner, Vincent d'Indy, Florent Schmitt, Elly Ney, Sir (and what the heck did he do to deserve that title) Reginald Goodall, and so forth. The author is right, for example, that an attitude persists, particularly with respect to the Austro-German repertoire, that one really has to be born in a particular area and be of the "right" ethnicity (Jews need not apply!) to truly understand and get to the base of the music; other interpreters are at best practitioners of superficial virtuosity. This is a residue of German nationalist thinking that set up a dichotomy between "culture" and "civilization." These attitudes, and, of course, any remaining racism among current practitioners and the social-economic superstructure of classical music, need to be fought aggressively (and when is Jonathon Heyward going to get a shot at a significant conducting post in the United States?).
However, that issue needs to be treated completely separately from the issue of whether classical music per se, completely apart from attitudes of its practitioners or its social-economic superstructure, is inherently racist or linked with whiteness. This is definitely tripe at its worst. It is true that the origins of classical music, linked to the church, are almost totally European (but not completely; elements of Jewish worship practice survived in Gregorian chant), but there is nothing inherent in the music as it currently exists that would block practitioners of any race or ethnicity from composing it, performing it, or understanding it. Yes, he is right to bring up the context of the "Orientalizing" operas of the 19th and early 20th century (perhaps the most embarrassing of these now would be "Madama Butterfly"), but that is really a side issue now.
The fact is that there is no such thing as "cultural appropriation," a completely inaccurate trope of much of the left. When, for example, Bartok used the folk music of Romania to compose new music of his own, the inhabitants of Romania were left with their own music and could perform it and enjoy it in any way they wished. This process has gone on since medieval composers used the theme of a popular song of the day, "L'Homme Arme," as the cantus firmus of masses.
One wonders if Mr. Maysaud has ever heard of W.E.B. DuBois, a radical African-American public intellectual. Mr. DuBois was a huge fan of European culture generally, definitely including classical music and opera (including, believe it or not, Wagner!).
One also wonders if Mr. Maysaud is aware of another American-based composer of Arab origins, Mohammed Fairouz, who also happens to be gay. Mr. Fairouz has, in addition to works based on Arabic music or using Arabic texts, has also incorporated Hebrew texts and themes based on Jewish music, such as klezmer. His Third Symphony incorporates Arabic and Hebrew poetry and the Jewish Kaddish prayer. (Talk about cultural appropriation!)
I find his commentary very disheartening.

John F
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Re: It's Time To Let Classical Music Die

Post by John F » Sat Jun 29, 2019 2:38 pm

Modernistfan wrote:the issue of whether classical music per se, completely apart from attitudes of its practitioners or its social-economic superstructure, is inherently racist or linked with whiteness. This is definitely tripe at its worst.
Everything in your post up to this is ancient history, while Maysaud is writing about here and now. All the people you name are long dead, and few if any alive admit to any such attitude, whatever Maysaud might believe. You take his screed far more seriously than it deserves.
Modernistfan wrote:Sir (and what the heck did he do to deserve that title) Reginald Goodall
Goodall's political views (not just antisemitism) were shameful, but knighthoods are given in recognition not of personal character but of outstanding public achievement that reflects well on the U.K.; international celebrity helps. If HMV hadn't recorded the Goodall Ring cycle, I doubt he would have gotten the knighthood.
Modernistfan wrote:when is Jonathon Heyward going to get a shot at a significant conducting post in the United States?
Hey, he's only 26 years old, and graduated from the Royal Academy of Music in 2016. If he's any good, his time will come.
John Francis

Modernistfan
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Re: It's Time To Let Classical Music Die

Post by Modernistfan » Sat Jun 29, 2019 2:56 pm

Maybe few people today will openly admit to such attitudes, but they are more prevalent than any of us would presumably like. Remember the Gramophone reviews of, for example, the Shostakovich quartets by the Emerson Quartet (and also some other reviews of recordings by that ensemble). At that time, all four members of that quartet were American Jews, and those reviews barely avoided crossing a line into overt anti-Semitism, with the sneering references to "New York" and to "virtuosity" (a favorite negative trope of those attempting to cleanse German musical culture of "Jewish influence" was "empty virtuosity").

jserraglio
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Re: It's Time To Let Classical Music Die

Post by jserraglio » Sat Jun 29, 2019 3:39 pm

John F wrote:
Sat Jun 29, 2019 2:38 pm
Hey, he's only 26 years old . . . If he [Jonathon Heyward]'s any good, his time will come.
Maysaud, a composer, is even younger: https://nebalmaysaud.com/music

https://m.youtube.com/watch?v=nmy_knpXp ... 6tEyrSc30A


A Prayer for the Fire Worshipper
https://soundcloud.com/nebalmaysaud/pra ... -worshiper

On the Mountains of Orphalese
https://soundcloud.com/nebalmaysaud/on- ... -orphalese

https://www.youtube.com/watch?time_cont ... eHF325rM64


John F
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Re: It's Time To Let Classical Music Die

Post by John F » Sat Jun 29, 2019 5:58 pm

I'm not impressed by what you say about The Gramophone's review of the Emerson Quartet as "New York" and "virtuosic." Both of these are true, but neither implies Jewishness or that Jewishness is to be deprecated. I've just read that review, and note that while the reviewer isn't comfortable with the Emersons' style, he concludes, "This, surely, is a Shostakovich cycle for the 21st century." This is latent antisemitism? No way.
Last edited by John F on Sat Jun 29, 2019 11:35 pm, edited 1 time in total.
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Re: It's Time To Let Classical Music Die

Post by lennygoran » Sat Jun 29, 2019 7:03 pm

Modernistfan wrote:
Sat Jun 29, 2019 1:11 pm
Regarding the first of these (​racism among practitioners of classical music and more generally, in the commercial structure of classical music), there can be no doubt. All I have to do is just to name a few names: Richard Wagner, Vincent d'Indy, Florent Schmitt, Elly Ney, Sir (and what the heck did he do to deserve that title) Reginald Goodall, and so forth.
I consider myself a practitioner of classical music-love Verdi, Puccini, Donizetti-you're saying I should let this die? You can't be serious about this? Regards, Len :(

THEHORN
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Re: It's Time To Let Classical Music Die

Post by THEHORN » Sun Jun 30, 2019 1:06 pm

Western classical music is "inherently racist ?" This is like saying basketball is "inherently racist" because there aren't more short, nerdy Jewish men on basketball teams . This is nothing but a straw man .
None of our symphony orchestras and opera occupancies etc is trying to exclude anyone on the basis of race, whether programmers or audience . There is only small number of black musicians in our symphony orchestras, but this is not due to racism but the scarcity of young blacks who have taken up orchestral instruments and aimed for careers in these orchestras .
However, there is a substantial number of asian -American and asian -born musicians in them . This is because young asians have a tradition of studying orchestral instruments or piano etc . And women play a much more important role in classical music today, whether a composers,conductors , instrumentalists etc than ever before .
There are more women composers than ever before , and performance of their music are more common than ever before ; ditto female conductors , and more women in our orchestras than ever before .
Classical music is actually more of a meritocracy than many other fields .

Rach3
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Re: It's Time To Let Classical Music Die

Post by Rach3 » Sun Jun 30, 2019 6:01 pm

THEHORN wrote:
Sun Jun 30, 2019 1:06 pm
Western classical music is "inherently racist ?" This is like saying basketball is "inherently racist" because there aren't more short, nerdy Jewish men on basketball teams . This is nothing but a straw man .
None of our symphony orchestras and opera occupancies etc is trying to exclude anyone on the basis of race, whether programmers or audience . There is only small number of black musicians in our symphony orchestras, but this is not due to racism but the scarcity of young blacks who have taken up orchestral instruments and aimed for careers in these orchestras .

Agree about the condemnation of Western CM and current symphony orchestras practices , but would respectfully suggest the " scarcity of young blacks who have taken up orchestral instruments " is probably in part due to past racism, not just " meritocracy."

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Re: It's Time To Let Classical Music Die

Post by John F » Mon Jul 01, 2019 9:46 am

Rach3 wrote:the " scarcity of young blacks who have taken up orchestral instruments " is probably in part due to past racism, not just " meritocracy."
We'd have to know how many African-Americans actually auditioned for orchestral positions, and how they fared, to reach such a conclusion. African-Americans have held important positions in major American orchestras in the last few decades; Anthony McGill, clarinet, moved up from the Metropolitan Opera orchestra to New York Philharmonic principal, and Jerome Ashby was associate principal French horn for the NY Phil for 28 years.

The first requirement for making a career in classical music is to begin with one of the orchestral instruments when very young. I should think the obvious role models for musically minded black kids are not classical but pop, rock, hip-hop, or at best jazz. That's also the direction peer pressure works; hip-hop or rap are cool, classical music isn't. If you want to play jazz you take up a jazz instrument, whether the piano, clarinet, saxophone, trumpet, double bass, drums - but not a stringed instrument or the flute or bassoon. (A double bass player in the New Jersey Symphony was African-American and played a riff with Nigel Kennedy when he did a jazz encore in a Symphony concert.) If hip-hop and most other rock genres, the guitar.

Racism is such an easy answer nowadays for so many questions that I suggest we should only use it when we have to. On this question we don't have to.
John Francis

Rach3
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Re: It's Time To Let Classical Music Die

Post by Rach3 » Mon Jul 01, 2019 10:12 am

John F wrote:
Mon Jul 01, 2019 9:46 am
Racism is such an easy answer nowadays for so many questions that I suggest we should only use it when we have to. On this question we don't have to.
Disagree.Said " due in part " , not "due totally" . More white kids take up classical instruments because more white kids than black kids think classical music is cool ? Cost of instruments, cost of lessons,availablity of school programs not factors ? To suggest the differences here are due either to merit and/or culture alone seems too broad a conclusion.

John F
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Re: It's Time To Let Classical Music Die

Post by John F » Mon Jul 01, 2019 11:03 am

Rach3 wrote: More white kids take up classical instruments because more white kids than black kids think classical music is cool ? Cost of instruments, cost of lessons,availablity of school programs not factors ? To suggest the differences here are due either to merit and/or culture alone seems too broad a conclusion.
I have not suggested that the differences are due to merit, indeed I gave two specific examples of African-American classical musicians who made it to the top (or nearly) on merit. I have not said that white kids think classical music is cool; that was not my experience growing up in the 1950s, indeed not until college did I meet any others of my age who knew or cared at all about CM. My schoolmates were middle class white kids, nearly all gentiles, whose parents (some of them very wealthy) could well afford to buy instruments for their children. The kids just weren't interested.

What I am suggesting is that to suggest the differences are due in significant part to racism seems too easy a conclusion. One factor not mentioned yet is demographics: there are 8 times as many African-Americans as whites. The proportion in Europe and Asia, from which a significant number of orchestral players come, is even more one-sided. No wonder, then, that African-American orchestral players are few compared with other races: there are fewer African-Americans, period.

Another factor is the influence of parents and other elders on children, whether music lovers or actual musicians. I have no numbers so I'll leave this question open, but it was having classical music records played often at home, and the encouragement of a beloved grandmother and (eventual) stepfather, on which my own love of CM was based.

Gustavo Dudamel succeeded in making classical music cool for kids in Venezuela, not just listening to it but playing in orchestras, and he's doing it now in California with Youth Orchestra of Los Angeles. This program provides free instruments and music training to kids from low-income families. According to Wikipedia, a large part of the 800 members per year have been Latino and African-American. Most of them have gone on to college so it's too early to know whether any will become professional orchestral players, but I've no doubt that some will.
Last edited by John F on Mon Jul 01, 2019 5:55 pm, edited 2 times in total.
John Francis

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Re: It's Time To Let Classical Music Die

Post by maestrob » Mon Jul 01, 2019 11:41 am

FWIW:

For my competition I auditioned many black sopranos, four of whom became winners (and a fifth who was grabbed by the MET before she could enter the finals), out of 30 total winners, about roughly in proportion to population share. OTOH, I heard very few male singers of color, and none were winners. I did work with one excellent tenor from overseas who went straight to NYCO before the finals, and sang lead roles with Eve Queler in Carnegie Hall as well on my glowing recommendation.

I did not find any racism expressed by my colleagues on the Advisory Board or from my judges. Quite the contrary, in fact.

John F
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Re: It's Time To Let Classical Music Die

Post by John F » Mon Jul 01, 2019 3:38 pm

African-American opera singers led the way, back in the '50s and '60s.
John Francis

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Re: It's Time To Let Classical Music Die

Post by absinthe » Fri Jul 05, 2019 2:07 pm

Classical Music is Inherently Racist

So what? So is Reggae, so is Zouk, so is Kompa, so are Ragas....

I have to confess disdain for politicising music. There are plenty of different colours of musicins around today and no one is barred from any musical activity if they have the talent and presentation. At least, not in Europe.

It's a bit like recently this great news item - you'd think the sky was about to fall on our heads - brown ballet shoes would be available and acceptable. Totally woke!

barney
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Re: It's Time To Let Classical Music Die

Post by barney » Fri Jul 05, 2019 6:48 pm

It's another example of identity politics, which we have been discussing in a few threads in the pub. This Lebanese chap is categorically racist, consciously so, and rushing to embrace victimhood status. It seems to me just a way of trying to get his work performed because of who he is, not because it's any good.

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