The racialization of music

    The social construct of race has permeated into society by developing certain reputations and stereotypes that are both misconstrued and damaging. "A biological reality" delved into this concept as it pertained to athletic ability- how the changing racial competition of

tennis "big four" 

American urban cities corresponds to the evolution of sports and their compositions. The effects are felt even in our own comfortable Troy, in which facilities for sports such as tennis and swim are accommodated for. But if we drive just half an hour to urban Detroit, in place of swim clubs and golf courses are basketball courts- some with hoops but no nets, all mostly run-down and unused. When these sports go pro, you can see a clear distinction: while tennis is predominated by white Europeans (insinuated by the Laver Cup on the ATP tour, which pits "Team Europe" against "Team World"), basketball is a primarily black sport (73.5% of the NBA are black players). 

    As is with the observation made about the racial makeup of "white-collar" vs "convenient" sports, the lack of diversity is ever apparent in the institution of the American symphony orchestra. According to a study by the League of American orchestras, only 1.8% of America's orchestras are African-American, while Hispanics make up 2.5%. This polarization may have roots that stem from how differently American youth is raised. We Troy fifth-graders had the luxury of choosing any instrument we played once, thinking "Oh, this isn't so bad". It was taken for granted for our parents to follow suit- renting said instrument, finding private teachers, sending us to summer music camps, etc etc. While we had the support and the padding to pursue whatever we wanted, other lesser-fortunate children did not. Inherently, we are all the same. There is no legitimate, evidential support towards racial inferiority or superiority. So then how come opportunities (that, since everyone is equal, should theoretically come across) are not equitable? 

    Of course, nothing is absolute- as the authors of "A biological reality" mentioned, there are a handful of anomalies. For example, our closest professional orchestra, the DSO, offers the African American Orchestra Fellowship to talented black musicians. In doing so, the DSO increases access and opportunity for African Americans within classical music. Still, it holds true that programs like these are exceptions- not the rule. 

Cole Randolph (middle) was an African-American Fellow for the DSO last year- and this year he won the blind audition (out of ~130 people) to be in the section permanently! (also this picture is funny yet incredibly ironic bc it was the first picture I found to the search "why are orchestras so white" and three of my old private teachers are in it)

    The history of this cherry-picking discrimination is not often discussed, or if it is, it is not a comfortable conversation. It is contrary to how most of society wants to view ourselves. But it is long past the era of making the topic taboo. We must have these uncomfortable conversations- there is no excuse for complicitly perpetuating the notion that the means of possibilities are more or less narrow for two kids, whose only difference is that one is white and the other is black. 

    (Without sounding like a certain PSAT passage... I wanted to underscore that) This is why public funding for the arts matters. It's more than just a hobby, a trivial pastime. It promotes self-expression, it allows for creativity, it provides a place to learn values, it gives a sense of belonging. Music can inspire change, shape cultures, and yield a more interpersonal, well-rounded generation so that ultimately, society benefits.