1

CLASSICAL MUSIC IN CHANGING TIMES:

Historical Context for Rising Unemployment

Thomas Neal

2

ABSTRACT

In this essay, I explore the history of education and cultural involvement with classical music in

the context of full-time orchestral employment. Since the late twentieth century, the orchestral world

has become increasingly more imbalanced toward a buyer's market regarding the selection of

musicians. Through examination of recent literature on the subject, as well as economic data, I

conclude that this supply and demand gap has largely been a result of growing interest in music as a

profession coupled with declining interest in classical music as a genre. Career interest has grown from

developments in music education, which stemmed from instrumental music receiving more attention at

schools after World War I. Military band members arriving home started band programs across the

nation where before there were only choral groups. This rise in instrumental music education led to

sports bands, state and national competitions, and improved spending in music education. As a result,

American conservatories were increasing in number. Before, if a student wished to pursue an orchestral

career, conservatories could only be found overseas. This new development led to more people

pursuing degrees in performance fields in America. At the same time, the declining interest in the

classical music in America also contributed to this imbalance. Average age of attendance in classical

music performances increased steadily over the twentieth century as the genre began to draw an

increasingly upper-class crowd. With advanced technology (such as radio) came more appeal to

popular music as new generations left behind the old genres of classical music. Orchestras have

therefore found themselves in a situation where self-innovation and re-branding is essential to survive

through these changing times (playing just as many or more pop concerts as classical concerts).

Although this cultural demand has decreased, the supply of musicians leaving college looking for full-

time employment has done the reverse, leading to this imbalance.

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CLASSICAL MUSIC IN CHANGING TIMES:

Historical Context for Rising Unemployment

Wonderful things are happening in the orchestral world. The quality of smaller orchestras is

becoming much more comparable to that of the “major league” orchestras. The players in these smaller

orchestras have improved from what some have called “minor league” to a more world-class level.

Smaller orchestras are now taking tours similar to the big ones, undertaking larger works, and are

generally playing at a higher level. This is all wonderful from the cultural perspective of smaller cities

home to these orchestras. Unfortunately, as the quality of many such smaller ensembles is rising, the

number of them is dwindling. This comes at great cost for the aspiring orchestral musician seeking full-

time employment. This issue would be less significant if there were not numerous unemployed

musicians with college degrees greatly overbalancing the small number of full-time positions available

in America. With such a large disparity between supply and demand, orchestral employment has

become an extreme version of a buyer's market. The supply of musicians coming out of collegiate

music programs greatly exceeds the demand for them, giving employers an advantage in that they can

choose the best of the best and have an edge in salary negotiations. Thousands of musicians are

obtaining performance degrees from universities and conservatories, while there are very few salaried

positions available in a given year. How this state of affairs came to be has yet to be documented. In

this paper I will show that this disparity originated from increased availability and interest in

instrumental music education following World War I, coupled with a decreased cultural relationship

with the classical music genre over the course of the twentieth century.

Instrumental music education became a dominant extracurricular activity in secondary schools

near the beginning of the twentieth century, largely as a result of military musicians who returned home

from the two world wars and started band programs. As these programs grew, more playing

opportunities arose (e.g. sports bands, community bands, competitions), and participants showed more

interest in music as a career. As a result, colleges around the country began to offer music degrees, and

conservatories began growing in number in America (before the twentieth century, serious musicians

had to seek education in Europe). At the same time, interest in classical music has been steadily

declining, as exemplified by the increasing average age of audience members. Technology, such as

radio, heavily shifted interest towards popular music. Ironically, this new availability of music to a

large portion of the American population has contributed to both increased interest in performing and

also evolved musical interests more quickly, leaving the general demand for classical music far behind.

This lack of interest resulted in an imbalanced pace between the rise of smaller orchestras offering

salaried positions and the increased number of musicians entering the profession.

I came to this topic wanting to explore the music education boom in the twentieth century, that,

at the time, I had no evidence for, but had personally been a product of that very system. As I kept

researching and my topic evolved, I realized that this interest in the field of performance made little

sense from an economic standpoint. I continued to search for how this phenomenon came to be, and

realized that not much has been written on the subject. This research is important, because it gives us a

realistic view of the classical world as it is today. Armed with this knowledge, we can make steps to

bring about informed change in our profession. Without this research, this current trend is likely to

exacerbate the live classical music profession. In a questionable economy, it is necessary for us to be

realistic in the change we promote moving forward.

4

I.

The current gap between college graduates in performance fields and available salaried

orchestral positions can not be understated. There are currently 56 American orchestras that offer

minimum salaries over $10,000.1 The number of accredited music schools in America, according to the

National Association of Schools of Music is 625. This statistic shows a disparity that is unlike many

other professions, however, a comparison of the next detail is even more alarming: in 2013, The

International Musician advertised 183 salaried positions in American orchestras,2 while the number of

students graduating with performance degrees was 3,770.3 However, this percentage of jobs to

graduates for the year (4.85%) does not account for the thousands of musicians that graduated before

2013 still seeking employment. If we extrapolate this data back five years, assuming as low as 50% of

those graduates still seek a salaried position, jobs in 2013 as a percentage of applicants seeking

employment would be closer to 1.2%. To illustrate the severity of this situation, even if every one of

those advertised jobs were taken by graduating doctoral students that year, there would still be a surplus

1 International Conference of Symphony and Opera Musicians. Wage Scales and Conditions in the Symphony Orchestra.

ICSOM Research from 2012-2013. New York City; 2013; Regional Orchestra Players Association. Wage Scales and

Conditions in the Symphony Orchestra. ROPA Research from 2012-2013. New York City; 2013.

2 American Federation of Musicians of the United States and Canada, International Musician: Official Journal of the

American Federation of Musicians of the United States and Canada. (New York, N.Y.: The Federation, 2013).

3 . Higher Education Arts Data Services. Music Data Summaries. HEADS Research from 2013. Reston, Virginia;

2014.

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of 129 doctors of music performance without jobs. Currently, the largest disparity between musicians

seeking positions and available jobs is in flute (0.88%), while the smallest is in string bass (9.29%).

String players, in general, face less difficulty in this regard than do wind players or percussionists, as

they make up a larger portion of the orchestra; the exception to this statistic in 2013 was the French

horn (the largest wind section, often requiring assistants). To visualize this extreme gap, refer to Figure

1.

Another aspect that these statistics do not account for is those positions that are taken in a given

year by established professionals looking to advance their current situation; often times players in

orchestras are looking for artistic advancement or a higher salary, and they will take auditions at larger,

more prestigious orchestras. As a small example of this phenomenon, seven of the last eight trombone

auditions were won by someone who had previously held a salaried position in an orchestra.4 This has

led orchestras to become more selective with the people they let audition. From the perspective of

players seeking employment, while winning the audition is extremely hard to do, simply getting the

opportunity to audition is becoming increasingly harder. The orchestras are thus part of a buyer's

market that can be as selective as they want in an audition scenario, because there is no indication that

the supply is diminishing anytime soon; and as no orchestras have become full-time in the last 25 years,

demand for players will remain stagnant as well.

4 “Trombone News of 2012,” last modified February 26, 2013, http://trombone.myartsonline.com/news12.htm. Accessed

April 21, 2014; 'Trombone News of 2013,” http://trombone.myartsonline.com/news13.htm Accessed April 21, 2014.

6

Of the 56 symphony orchestras in the United States that offer minimum salaries over $10,000,

the last to start doing so was the Colorado Symphony in 1989. The next most recent was the Columbus

Symphony, which started offering salaries in 1970. The remaining orchestras instead pay a fee per

service to their members. This is an indicator that the classical bubble, at least when it comes to

orchestras, has “burst”, and indeed started to do so in the mid-1960's (see Figure 2) as the rate of new

orchestras entering the market slowed to a halt. Orchestras continued to strengthen and grow into full-

time salaried organizations through the 1960's, however, only a single salaried symphony orchestra has

been established in the last 44 years. This indicates that the financing of orchestras is not what it used

to be. As less serious “minor league” orchestras stopped heading towards full-time, salaried status, the

amount of available jobs stopped rising as fast, yet the amount of people graduating with performance

degrees continued to accelerate.

II.

To understand the history of this phenomenon, one needs to understand the changing

circumstances of American music education. Before the twentieth century, the vast majority of schools

had only vocal education. Teachers emphasized the importance of reading music on a staff following

the end of the Civil War in 1865, pioneered by former military bandsman Benjamin Jepson.5

Instrumental education took place almost entirely through private instruction before the twentieth

century, with very few ensemble playing opportunities (both amateur and professional) available. In

fact, very few music educators played instruments; they were mainly singers educating from that

perspective.

Various factors contributed to the final rise in instrumental music education. For instance, as the

United States grew from its roots as a very religious culture to one more secular in nature, choral works

were valued over instrumental works. There was a general attitude that instrumental music-making was

not a career worthy of a serious man. The exception then was the piano for women; it was considered a

part of a lady's well-rounded education to know how to play the piano. This disdain for instrumental

music could, however, be due in large part to the lack of access to hear major works played well. It was

not until the mid-nineteenth century that Americans were able to hear symphonic works be played by

full orchestras.

As this music grew steadily in popularity, more educators started forming extracurricular

instrumental groups. By 1900, small, sparsely orchestrated groups were growing larger in numbers

across the country, stemming from the Midwest. Principals across the country wanted the added

prestige of having a school orchestra. By about 1915, school bands and orchestras were becoming part

of the curriculum – no longer just an after-school activity. Funding was afforded towards attaining

instruments, and bands grew in number. However, one of the more effective catalysts for instrumental

education came after the first World War, ending in 1918.

After four years at war, military bandsmen were coming home in search for new employment as

civilians. Fortunately, the demand for instrumental music educators was high, and many veterans

started band programs across the nation.6 An important initiative was started by the Veterans of Foreign

Wars that funded community bands, including drum and bugle corps. The VFW also sponsored

5 The following paragraphs are based closely on pp. 163-229 of: Birge, Edward B. “The Twentieth Century.” In History of

Public School Music in the United States, 163–229. Boston: Oliver Ditson, 1937.

6 D. Royce Boyer and Philip James, “The World War I Army Bandsman: A Diary Account by Philip James,” American

Music 14, no. 2 (July 1, 1996): 185–204, doi:10.2307/3052352.

7

regional and national competitions, which promoted higher quality, structured education focused on a

common goal.7 This influx of secondary music teachers after the war also ignited the rise of

conservatories in the United States (see Figure 3).

7 Michael L. Mark, “Music Education History as Prologue to the Future: Practitioners and Researchers,” The Bulletin of

Historical Research in Music Education 16, no. 2 (January 1, 1995): 98–121.

8

Before the early twentieth century, amateur musicians seeking education for a career in

performance were forced to commute overseas. Conservatories and music schools were simply

unavailable in the United States. As music education at the secondary level improved, conservatories

were in higher demand. Notice in Figure 3 that an initial boost in the establishment of music schools

came after the Civil War, and increased steadily until the end of World War I (when the rate increased

rapidly).8 After the Civil War, there was a push for unification of music education across the United

States, which resulted in a small boost for conservatories. Then, after World War I, as veterans

established band programs across the nations, the demand for American conservatories grew very

rapidly. When compared with the rate at which salaried orchestras were being established, you will

notice that World War I ignited this disparity, and the problem has been growing worse ever since.

III.

What happened to the steady rate of professional orchestral growth, then? The status of classical

music looked very promising through the 1960's, and then progress stopped. American orchestras

quickly rose to a world-class level, becoming the envy of other countries. It seemed as though there

was no limit on their cultural advancement. However, many factors contributed to the deceleration of

this progress. One element in particular was the economy.

While the adjusted Gross Domestic Product for the United States has predictably stayed on a

8 National Association of Schools of Music Accredited Institutional Members. Reston, Virginia; 2014.

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consistent upward trend,9 income inequality became a much larger problem starting in the 1970's. In

1970, the top-earning 0.01% of Americans made around 50 times the average worker's income. That

statistic has since increased by a factor of six, and now the same demographic makes around 300 times

the average worker's income.10

See Piketty and Saez graph above.11

What does income inequality have to do with the state of orchestras? It diminishes the value of

the middle-class. A recent report states that, despite being the dominant middle-class for at least 33

years, we have now fallen to second place;12

however, we remain far ahead of other countries in the top

1% category of income-earners. With a slowly deteriorating middle-class, and orchestras funded by the

elite, live classical music became out of reach for a great deal of Americans.

Fortunately for middle-class Americans, new technologies emerged that would bring high-

quality recordings into the home cheaply. Before the mid-1960's, home audio was largely monophonic,

and considered low quality. With low-quality in-home devices, going to hear the symphony was

essentially a necessity. However, with the introduction of affordable, “high-fidelity” audio, American

families could enjoy the symphony in the comfort of their own homes.13

These audio advancements did

not slow down, as technological progression largely follows exponential patterns.14

Walkmans, cassette

players, compact discs, and mp3 players shortly replaced and improved on these technologies.

Eventually, computers and the internet even replaced the need to produce a physical CD; most classical

music purchases are made through online mediums, with higher quality audio than ever before.15

It is difficult to measure the evolving social attitudes of American culture. However, one would

be hard-pressed to argue that groups like The Beatles or people like Elvis Presley did not influence this

evolution. Popular music played a pivotal role in forming the preferences of society. Slave folk songs

evolved into the Blues, which slowly became Jazz, which slowly became Rock 'n Roll, which quickly

deviated into countless genres, adored by billions. The steady rise of pop music was accelerated, again,

by technology. Generations were (and still are) glued to their radios to catch their favorite song.

Ironically, this combination led to both the decline in interest of classical music as well as the rise of

interest in performing. Band, choir, and orchestra, however, were the primary means in which

adolescents involved themselves in music. Students transitioned from eager listeners to active

performers, and the statistics hint that they learned the joy of performing. Many of them pursued

careers in this field that they came to love; alas we have arrived at our dilemma.

IV.

Fallin and Garrison state in their article Answering NASM's Challenge: Are We All Pulling

Together? “[g]iven the recent decline in revenue many orchestras face, performers graduating today are

9 B. E. A. US Department of Commerce, “Bureau of Economic Analysis,” accessed May 7, 2014,

http://www.bea.gov/iTable/iTable.cfm?ReqID=9&step=1#reqid=9&step=3&isuri=1&903=317.

10 Piketty, Thomas and Saez, Emmanuel, "Income Inequality in the United States, 1913-2002," University of California

Berkeley (November 2004): accessed May 5, 2014, http://elsa.berkeley.edu/users/saez/piketty-saezOUP04US.pdf.

11 Ibid.

12 David Leonhardt and Kevin Quealy, “The American Middle Class Is No Longer the World‟s Richest,” The New York

Times, April 22, 2014, http://www.nytimes.com/2014/04/23/upshot/the-american-middle-class-is-no-longer-the-worlds-

richest.html.

13 Keir Keightley, “„Turn It down!‟ She Shrieked: Gender, Domestic Space, and High Fidelity, 1948-59,” Popular Music.

14 Jeffrey Lee Funk, “What Drives Exponential Improvements?,” California Management Review 55, no. 3 (May 1, 2013):

134–52, doi:10.1525/cmr.2013.55.3.134.

15 Bill Stensrud, “Classical Music After the CD,” The Business of Classical Music, December 9, 2008,

http://businessofclassicalmusic.blogspot.com/2008/12/classical-music-after-cd.html.

10

less likely than ever to make a living wage from performance alone.”16

As dire as this situation is. few

solutions have been proposed. The overabundance of graduates is an issue that can be addressed more

easily than the stagnant state of American orchestras. Simply stated, if there are too many musicians

going into the performance field, universities should show more scrutiny in the quality of

instrumentalists that they award degrees to. Unfortunately, higher education is a business, and a

business needs customers. At universities, the customers are the students; therefore, to decrease the

acceptance rate of students is to decrease necessary funds and profits.

Another proposed solution, given by George L. Rogers, is to realistically inform students just

how slim their chances are of playing in the professional world. There is an alarming amount of people

taking odd jobs, often times for minimum-wage coming out of college, and never finding work as a

performer. Even professional musicians in the most prestigious symphonies have had to suffer for years

before finally landing the “big job.” I personally believe that armed with this knowledge, an average

player would think twice about committing to a life of such uncertainty.

Additionally, universities should push for diversification of the performance degree. Perhaps

colleges could create curriculum that encourages entrepreneurial growth. It might even be in the best

interest of students to pursue a business minor alongside a performance path, or for universities to force

this as part of a degree plan. In the long-term, this could become mutually beneficial for both parties;

graduates will have a unique background to rely upon and promote their own music-making.

Additionally, universities would make higher profits through the addition of classes, and they could

boast a higher employment rate for departing graduates in the performance field. With this diversity in

their degree, graduates would be less likely to go through such turmoil in their inability to win a

salaried position out of college. With entrepreneurial skills they would learn to market themselves as

part-time players, and with a minor in business, they could even pursue typical jobs to fund the

auditions they take.

One solution, proposed by Ron Modell of Kansas State University, is to push performance

majors to pursue music education degrees instead.17

I respectfully disagree. Musical talent and teaching

ability are not related. Music education as a fall-back plan, or for insurance, is a disservice to that field.

The best music teachers are passionate about what they do, as they should be. They are educating

future generations, and to have someone leading adolescents simply because they did not happen to

“make it big” in performance often results in poor teaching.

The other obvious problem is the disconnect society feels with our genre. Since the peak of

classical music in the 1960's, its share of the music marketplace has hovered around 3%. This

stagnation, however, is not an indicator of our demise;18

although, unless something is done to reignite

the passion in our society for classical music, the employment issue will only get worse. To promote

more attendance at concerts, orchestras should strive to make classical music relatable to a larger

audience.

Consumer studies have shown that those potential audience members that are hardest to reach

are younger than average, low-income people without children.19

Perhaps if symphonies reach for these

16 Fallin, Jana R. and Garrison, Paul K. “Answering NASM's Challenge: Are We All Pulling Together?” Music Educator's

Journal 91 (March, 2005): 45-49.

17 Ron Modell, “All Student Convocation” (lecture, Kansas State University, Manhattan KS, October 9, 2003)

18 William Robin, “The Fat Lady Is Still Singing,” The New Yorker Blogs, January 29, 2014,

http://www.newyorker.com/online/blogs/culture/2014/01/stop-trying-to-kill-classical-music.html; Allan Kozinn, “Check

the Numbers: Rumors of Classical Music‟s Demise Are Dead Wrong,” The New York Times, May 28, 2006, sec. Arts /

Music, http://www.nytimes.com/2006/05/28/arts/music/28kozi.html.

19 John S. and James L. Knight Foundation and Minnesota Public Radio., Classical Music Consumer Segmentation Study :

(Southport, Conn.: Audience Insight LLC, 2002).

11

demographics in their marketing with lower-cost, shorter concerts that encourage socialization, we

would gradually get the “unattainable” least-interested consumers. A good example of a symphony

reaching out for this customer base is the Colorado Symphony. They have recently connected to

consumers with their “Classically Cannabis” and “Beethoven and Brews” concert series.20

Promoting

this atmosphere brings in a younger clientele, exposing classical music to people that would otherwise

not have heard it. Another smart example of marketing towards an atypical audience is the “Video

Games Live” tour, which has been consistently selling out concert halls around the world to a younger

audience.21

Marketing efforts such as these advance the cause of promoting classical music, and,

eventually, aid in the problem of unemployment.

Richard Taruskin states in his book The Danger of Music and Other Anti-Utopian Essays that he

believes, “[c]lassical music is not dying; it is changing.”22

However, without informed change, we take

the risk of compounding the problem, and creating higher rates of unemployment in a slowly-

recovering economy. This disparity was caused by an overabundance of musicians entering the field

coupled with a rapid deceleration in financial advancement of symphony orchestras. Therefore, the

logical way to diminish this gap is to decrease the number of performance graduates, and pursue

avenues of advancing funds for those orchestras with very little. While the artistic advancement of

smaller orchestras has greatly benefited from this over-supply of musicians, if the current trends

continue, the disparity will only exacerbate the existing employment crisis, and someday in the future,

musicians in orchestras will work for a fraction of what they do now.

ANNOTATIONS

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http://www.rollingstone.com/culture/news/classical-grass-colorado-symphony-orchestra-teams-with-weed-industry-

20140430.

21 “News Archive,” VideoGamesLive.com, accessed May 6, 2014, http://www.videogameslive.com/index.php?archive.

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and Other Anti-Utopian Essays (Berkeley: University of California Press, 2009).

12

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13

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14

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