An exploration of the challenging but crucial conversations surrounding diversity and representation in classical music education, framed through a personal cautionary experience. Drawing from recent events in the industry, topics discussed include: – The importance of open dialogue about race and gender in music – Challenges in representing diverse composers in educational materials – Navigating sensitive discussions in music education – Lessons learned from attempting to address these issues – Broader implications for inclusivity in classical music Links: This episode is also available with video on YouTube: https://youtu.be/UXQ1gPeO9ek White Fragility: Why It’s So Hard for White People to Talk About Racism- Robin DiAngelo: https://www.penguinrandomhouse.ca/books/566247/white-fragility-by-dr-robin-diangelo/9780807047415 Useful study notes on ‘White Fragility’: https://library.fiveable.me/key-terms/hs-ethnic-studies/white-fragility A must read extract in The Guardian from Why I’m No Longer Talking to White People about Race by Reni Eddo-Lodge: https://www.theguardian.com/world/2017/may/30/why-im-no-longer-talking-to-white-people-about-race YouTube video Music Theory and White Supremacy by Adam Neely: https://youtu.be/Kr3quGh7pJA A talk by Philip Ewell on YouTube- a useful introduction to his work: https://youtu.be/q1yYR-VLpv0 My podcast review of the 2021 Leeds Internation Piano Competition: https://heartofthepiano.com/e21-leeds-international-piano-competition-the-leeds-2021-review/ Fiona Sinclair’s (CEO Leeds International Piano Competition) Leeds University presentation on gender inequality in music competitions and in the profession as a whole: https://www.youtube.com/live/xtdpAVyJzVg?si=sOp3PWG5_T_rCB-R&t=2801 A couple of news links concerning possible preferrential treatment for women in the Leeds International Piano Competition: https://slippedisc.com/2024/09/exclusive-how-the-leeds-piano-competition-is-rigged-for-equality/ https://www.telegraph.co.uk/news/2024/09/19/female-pianists-favoured-men-major-competition-rules/ The new AI tool which creates incredible podcast episodes- Notebook LM’s new Audio Overview feature: https://www.techradar.com/computing/artificial-intelligence/google-s-new-ai-audio-generator-lets-you-make-a-stunningly-real-ai-podcast-without-a-mic-here-s-how-to-try-it The intro/outro music is my jazz arrangement of the Rachmaninov Adagio from Symphony #2, you can watch the whole thing here if you like: https://youtu.be/hMqREAngb4s Transcription: Have you ever found yourself hesitant to discuss issues of race or gender for fear of saying something wrong? When we feel unable to talk about these issues freely, resentments and tensions can build up. Movements like Black Lives Matter, along with recent events in the UK, have highlighted how crucial it is to have these conversations. It’s obviously a contentious topic, but when conversations are stifled—when we’re afraid to discuss racial issues honestly for fear of being ‘cancelled’ or vilified—this creates a pressure cooker environment. As a result, when people of colour speak out about inequalities and push for change, white people can react in exaggerated, overly defensive reactive ways rather than perhaps listening with an open mind. Robin DiAngelo’s book White Fragility introduces the concept of this knee-jerk defensive response to healthy debate on race, which often serves to quickly shut any conversation down. DiAngelo explains that these defensive reactions—which can include anger, fear, emotional outbursts, and withdrawal—aren’t about being a ‘bad person’ but are ways people can avoid the discomfort that comes with talking about race. This means that often, despite good intentions, these kinds of defensive responses can actually serve to maintain the status quo of racial inequality by shutting down meaningful conversations about race. Another book, Why I’m No Longer Talking To White People About Race by UK author Reni Eddo-Lodge, sums up a lot of the frustration that people of colour experience when trying to discuss racial issues… personally, reading these two books in particular have really resonated with many of my experiences. Now, just to give you a little bit of context here, I don’t often talk about this, but I’m basically not white. It doesn’t come up a lot these days because, for many reasons, I don’t seem to stand out as much as ‘different’ anymore. Part of this is because Britain has become much more multicultural, and perhaps some of it is because, for whatever reason, I look more ‘white’ as I get older. So from time to time, when I bring up my ethnicity, people say to me, “I had no idea you weren’t white”. But when I found myself having frustrating conversations about race, the difficulties made so much more sense once I came across the concepts in the books that I just mentioned. I think it’s important to emphasise that the whole point of these books is not to make white people feel more defensive about talking about race, and the point is not to make white people feel attacked. This is the very problem those books are trying to solve, to highlight how we as a society need to be able to have these discussions openly without fear of being judged. Now, the world of classical music and classical music education in particular has been grappling with issues of racial and gender representation in recent years. At one end, there are academics such as Philip Ewell, who talks about a deep-seated ideology of white supremacy within the world of classical music. Adam Neely created a great YouTube video called Music Theory and White Supremacy discussing some of these ideas. I personally disagree with a lot of what Ewell says, but the topic is layered and nuanced, and he does make some valid points that are worth considering if you take the time to read his work carefully. Anybody who goes to classical music concerts will immediately notice the almost total absence of audience-goers who are not white. Could part of the reason for this be that non-white composers are rarely featured in concert programmes? Speaking personally, this absence did bother me when I was young. I was totally unaware that there were plenty of composers who weren’t ‘white’, and the strong perception that the world of classical music was basically for ‘white people’ did unsettle me. Now, I want to be absolutely clear: this does not mean that I think we should cancel Western classical music—I love it deeply! The Western classical tradition is really important to me. Obviously, the history of classical music does have roots in European composers working within a certain culture, but we now have the power to influence future audiences by taking a more broad and inclusive historical view. If we make an effort to promote more composers of colour and women composers—even if this doesn’t reflect the historical proportions of those composers—it could be key in growing classical music audiences and encouraging more diverse composers in the future. Long time listeners to my reviews of exam board syllabuses (or syllabi for those who prefer that word!) such as ABRSM, Trinity and LCME know that I have been passionate about the need to represent more women and non-white composers for this reason, and in recent years there has been noticeable pressure for all musical educational establishments including exam boards and music publishers to increase their diversity and address these issues around racial and gender representation. Some recent piano exam syllabuses—in fact most of them—have been doing an excellent job in discovering and sharing some real gems by hitherto obscure women composers and composers of colour all the way from the Baroque era to the modern age. So it’s not that they didn’t exist– but yes the majority of composers were white men. And it is a very difficult balance to try to decide how much we want to celebrate and honour a deeply valuable tradition with all its biases, and how much we can now selectively highlight the hidden minority women and non-white composers to shape the direction of the future world of classical music. The issue of positive discrimination surfaced in an interesting way just a few days ago at the concerto finals of the Leeds International Piano Competition, one of the most prestigious events in the classical piano world. It runs every 3 years, and you can listen to a podcast review that I made of the previous competition, the link will be in the shownotes or in the description of the YouTube video below as well as many other links and links to interesting articles on all the things I’ll be covering today. So, after only men made it through to the finals in 2021, the CEO of the competition Fiona Sinclair set out a series of initiatives to address this gender imbalance. These included training for this year’s jurors, as well as commissioning academic studies into gender imbalances at international piano competitions. She gave a fascinating lecture on this subject at Leeds University which you can find on YouTube, again links will be in the shownotes of the podcast episode or in the description of the YouTube video. However, there was quite the controversy just before the recent finals when major news sources spotted some clauses in the instructions to the jury members that give women competitors preferential treatment in some circumstances. You know, it’s one thing to try to tackle the problem of what was described as “male dominance” in the world of professional concert pianists, but is giving women pianists preference in a major competition to try to redress this balance going too far? Now all these issues that I’ve discussed so far intersected a few months ago when I published a podcast review of a set of books called The Joy of Graded Piano. I was asked to review this series of pian
