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A little over a month ago, a report was released by the UK parliamentary women and equalities committee exposing misogyny in the music industry. The report included personal testimonies demonstrating the ongoing prevalence of inequality in classical music, along with instances of sexual abuse and harassment against women. Many victims are being silenced through non-disclosure agreements in order to protect those in positions of power.
Many of my coworkers, including myself, initially did not identify this iteration of our cherished field, which is currently facing challenges. However, my perception shifted after presenting our own research. During an interview, a critic claimed, “It is undoubtedly sexism – what else can you call it?” When considering the magnitude of the issue, it is difficult to come up with another reasoning.
As the CEO of a music competition founded by women, I am deeply troubled by the issue of gender inequality. This issue became even more apparent during the 2021 Leeds international piano competition, where all five finalists were male. Upon further reflection, we realized that only two out of our twenty first prize-winners in the past have been women. This is a trend that can also be seen across other piano competitions.
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Out of the last 40 major piano competitions within the World Federation of International Music Competitions, men were declared the winners in 82% of them, and a significant portion of these had an all-male final round. In comparison, women dominate in the world of violin competitions, claiming 75% of first prizes. While this may suggest a lack of inherent gender bias in classical music, it raises the question of why this trend exists in piano competitions. Furthermore, what actions can be taken to create a more fair and balanced future?
The journey of pianists in the world of education appears to be equal for both boys and girls in the beginning, from their first lessons to graduating from a conservatory. However, as they progress further, the pipeline breaks and female pianists have a lower chance of winning prestigious awards or being accepted into career development programs. While competitions may be controversial, they play a crucial role in the careers of up-and-coming artists. These events celebrate talent and offer opportunities for performances and financial support. They can also have a profound impact, launching young artists onto the international stage and providing a strong foundation for their futures.
The timeframe for establishing a career is limited, especially after a musician has left the shelter of a conservatory or their established connections. Even minor differences in opportunities at the beginning can greatly affect one’s career over time. If we are not distributing these opportunities equally, it could provide an explanation for the lack of representation of women in the field, with less than 23% of career pianists being female. This may also contribute to the unequal representation in concerts, festivals, and record labels.
No doubt you’re rattling off successful female pianists in your head. But the fact that there are exceptions does not prove the rule. Many AI imaging apps have now learned that a “concert violinist” is female, and a “concert pianist” male. That’s why at the Leeds piano competition, we’ve taken a data-led approach. As well as gathering research ourselves, we were given access to extensive data, collated by musicians who had chosen not publish it themselves for fear of the consequences to their own careers. I understand why – in a profession which ascribes success to individual meritocracy (talent and hard work), it’s easier to accuse someone of being a lesser musician, or jealous of others’ success, than to acknowledge there are structural barriers at play that are limiting some.
We presented this information to several leaders in the classical music and competition communities. Each discussion began with a confused reaction of “really?” then moved on to speculations about gender differences in traits such as resilience, persistence, and risk-taking. Other factors such as societal norms, hand size, body frame, and volume were also brought up. Additionally, the desire to start a family was mentioned. One suggestion was even that in certain regions, men may participate in piano competitions to avoid being drafted for military service while women may attend European conservatories as a way to prepare for marriage.
Gender disparities, much like other imbalances, are usually unintentional. They may develop and become ingrained over time, posing overwhelming structural obstacles for those who are in the minority. An outstanding piece by Vick Bain, titled “Counting the Music Industry: The Gender Gap,” reveals that factors such as individual merit, bias, and lack of diverse role models contribute to hindering progress towards gender equality. Moreover, there is often bias present in competitive environments where assertive personalities and strong opinions are prevalent. This has been known to impact orchestras for decades, demanding a deliberate and united effort to address this issue. A comparison between older and current footage demonstrates the progress that can be made through blind auditions, although male figures still tend to dominate in positions of leadership.
We have implemented various measures in this year’s Leeds piano competition to promote fairness and equality. These include blind pre-selections, minimizing the disclosure of personal background information throughout all rounds, providing unconscious bias training to judges, and offering targeted career support to aspiring pianists. We have also reviewed our voting procedures with a legal expert, although there are no laws specifically governing competitions. The response from panelists has been positive, as they understand the responsibility and influence they have over the pianists. Blind listening has proven to be effective in reducing potential bias based on references, scholarships, or past competition wins. We are also making efforts to increase female representation in our repertoire, prizes, and concert opportunities. For instance, we are the first competition to offer the Clara Schumann Concerto as a finals option and have introduced a new prize sponsored by pianist Alexandra Dariescu, which includes concert opportunities for the best performance by a female composer. Our goal is to show female pianists that the odds are not stacked against them.
We can find inspiration in the world of conducting, as their focused efforts to bridge the gender divide have resulted in significant advancement. Therefore, we must also take action to avoid losing diverse and distinct perspectives, which would hinder the complete realization of artistic expression in the realm of piano.
Source: theguardian.com
