The Glass Ceiling of Classical Music

Caitlyn Forté

4/12/19

Ms. Whitney

AP Language and Composition

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 Upon being asked to give the names of prominent people involved in classical music, one

might recognize the famous Bach, Beethoven, Mozart, and even Tchaikovsky. All of these

talented individuals are representative of the traditionalized classical musical genre that favors

older white men. It is indisputable that these men paved the way for classical music as a

celebrated artform, however, this specific industry traditionally celebrates under-representative

musical compositions, accommodating eurocentric audiences. This results in a “glass ceiling

effect” that prevents women from achieving success and recognition within this artistic industry.

Despite the growing involvement of women in the industry, the deeply rooted “glass ceiling

effect” acts as a barrier between participation and equal opportunity. Opening up the paths of

musical influence to women will increase diversity and give a new voice to the classical music

industry while allowing it to retain its traditional roots. Men involved in the industry do not see

the representation of women, or lack thereof, as a problem but rather a testament to the

traditionality of the musical genre. Since the birth of classical music, men have been at the

headway of the genre, women remaining on the sidelines as spectators and vocalists. Those with

these viewpoints consider women to be “too weak” and lacking the “stamina” to truly encompass

the expression of classical music (Tsioulcas). These comments are valid in their basis of

traditionalized stereotypes within the classical music community, upholding the traditional

essence of the genre.

According to a variety of prominent male conductors, composers and musicians, the

classical music industry has no real need for change. A gender bias against women has been

traditionalized since the beginning of classical music’s rise to popularity. ​Throughout the 19th

century, the musical opportunities open to women “were sharply limited by patriarchal ideals

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regarding the proper role of women in society,” in essence, a woman’s role was that of a

housemaid as opposed to musician (Schmidt).​ This gender-biased trend has lasted well into the

20th century, currently dominating the wide scale genres of symphonies, concertos, and operas

(Schmidt). Women are seen to be “too emotional by nature” preventing them from being capable

of sufficiently expressing music as a conductor (Schmidt). New conductor of the Oslo

Philharmonic, Vasily Petrenko, explained that “a sweet girl on the podium can make one’s

thoughts drift towards something else” referring to women as more sexual in nature as opposed

to men (Tsioulcas). He went on to state that “male domination of orchestras is ‘an old tradition’”

and, as a result, changing the expression of the music would not be true to the original composers

(Tsioulcas). The roots of the artform lie in Europe which makes the traditionally white male

dominance of the industry understandable. Talented musicians like Bach, Beethoven and Mozart

should by no means be ignored as they helped create and embellish what is today called

“classical music.” These traditions are traditional for a reason, they are keeping the industry alive

and recognizing the deep roots of the artform.

Regardless of tradition, the overwhelming precedence of gender discrimination within the

classical music industry is inadvertently misplaced in its preventative manner of stifling artistic

expression. While talented musicians should be represented for their paving the way for the

classical music industry, this does not give explicit rights to ignore the influence of women who

can create their own new chapters in the genre. A main reason for the current position of women

in the classical music industry is the existence of unlawful employment discrimination

preventing them from achieving levels of success equivalent to that of their male counterpart

(Jolls). Although some would view this as discrimination, many community members describe

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these to be traditional norms in the industry. However, the explanation for the existing gender

divide cannot be reduced to upholding traditional standards when the means of upholding them is

through sexualizing and demeaning women. Throughout the years, women have been viewed

less favorably by conductors and composers in the industry. Gender roles come prior to being

hired as a musician, the expectation of motherhood limiting a woman’s musical influence

(Tsioulcas). Simultaneously, conductors tend to sexualize the nature of women, arguing that their

feminine figures prevent them from being capable of producing music (Tsioulcas). These

practices, while considered traditional to some, are biases that have been normalized and

institutionalized. Such traditions should be amended to respect the role of a woman so as to

reflect the changing norms of the culture in a progressive world. The history of classical music

lies heavily in the names of famous old white men, but simultaneously establishes the mindset

that this origination has no deciding factor over what the future holds for classical interpretation

(Kosman). A conscious step must be made to include representation so as to keep the industry

alive and prevent further isolation of the existing celebrators.

Currently, a glass ceiling effect exists in the classical music industry that is both isolating

to the celebrators of classical music and preventing women from doing their part to appreciate

this unique artform. There is little diversity in musical representation as pieces composed by

women are seldom played by orchestras worldwide, with only 1.7% of musical compositions in

the 2015-2016 season being composed by women (Chung). Additionally, ​only 30 percent of the

Philadelphia Orchestra are made up of female representation, and less than two decades have

passed since the Vienna Philharmonic Orchestra has opened membership to women (Schmidt).

This lack of female representation in orchestras and the classical industry contrasts with the

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currently progressive world in which the Feminist and Me Too movements are increasingly

gaining stride. In recent years, nine women among long lists of renowned male composers have

been acknowledged with some level of importance in the classical music industry, receiving the

Pulitzer Prize for musical composition (Schmidt). While this is seemingly a major step in the

right direction, it is only a small accomplishment in a big industry. ​The political landscape is

changing to be more diverse across continents and the classical music industry, contrary to other

arts industries, is falling behind and in dire need of a revamping that dispels the impression that

“classical music is an art form that is by, for and about white men” (Kosman).

Giving women the chance to be more directly involved in the industry will open the

world to a new variation of classical music that will allow the genre to grow and create more

diverse branches without stifling the traditional artform. It is important to uphold the roots of the

artform while simultaneously being conscious of the changing world in present day. Classical

music should not be trapped hundreds of years in the past, rather it should incorporate gender

diversity to enable a fresh revamping of the genre (Kosman). Diversifying the involvement in the

industry itself will aid in widening both the representation of the artform but also the

participation of audiences, “ensure[ing] that audience members… will sense some

responsiveness to their own lives” (Kosman). Classical music is an artform that should be

celebrated by all groups of people, ranging in both gender and diversity. The preexisting artistic

strength of those in the industry lends itself to coming up with creative ways to “break these

glass ceilings permanently and with gusto” (Rivera). Widening the influence that women have in

the classical music community enables audiences and musicians to connect to the roots of the

music.

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 Works Cited

Chung, Maya. "When Women Take the Baton." ​The New York Review Daily​ [New York

City], 26 Mar. 2019. ​Nybooks.com,​ www.nybooks.com/daily/2019/03/26/

when-women-take-the-baton/. Accessed 6 Apr. 2019.

Jolls, Christine. "Is There a Glass Ceiling?" ​Faculty Scholarship Series​, 2002. Accessed 6

Apr. 2019.

Kosman, Joshua. "Classical so White and Male: Time Is Overdue for Diversity."

​San Francisco Chronicle​ [San Francisco], 7 Mar. 2017.

​Sfchronicle.com​, www.sfchronicle.com/music/article/

Classical-so-white-and-male-Time-is-overdue-for-10983816.php. Accessed 6

Apr. 2019.

Rivera, Jennifer. "Where Are All The Women In Classical Music?" ​The Huffington

​Post​ [New York City], 20 Sept. 2018. ​Huffpost.com,​ www.huffpost.com.

Accessed 5 Apr. 2019.

Schmidt, Jack. "Breaking the Glass Ceiling of Concert Halls." ​The Intelligencer

[Pennsylvania], 23 Oct. 2018. ​Theintell.com,​ www.theintell.com/opinion/

20181023/opinion-breaking-glass-ceiling-of-concert-halls. Accessed 5 Apr.

2019.

Tsioulcas, Anastasia. “What Is Classical Music's Women Problem?” NPR. October 9, 2013,

https://www.npr.org/sections/deceptivecadence/2013/10/09/230751348/what-is-classic

al-musics-women-problem. Accessed 5 Apr. 2019.