The Well-Tempered Ear

Will using first names with Beethoven and Mozart help fight racism and sexism in the concert hall?

October 28, 2020
5 Comments

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By Jacob Stockinger

Why do concert programs read simply Beethoven for Beethoven (below top), but Florence Price for Florence Price (below bottom)?

According to a recent controversial essay by Chris White (below), a professor of music theory at the University of Massachusetts-Amherst, it reflects and reinforces sexism and racism.

White is calling for universal “fullnaming” to put women composers and composers of color on an equal footing with the traditional canon of dead white male composers. All people may be equal, but all composers and their music are not.

You can certainly make a case for his interesting argument against using “mononyns,” as he calls them. But it still seems less than convincing to many, including The Ear. It many ways it seems downright silly and arbitrary. Isn’t it obvious that not all composers are equal in quality of their work?

It is the latest dustup in the classical music world, coming right on the heels of, and logically linked to, the idea that Beethoven is responsible for sexism and racism in the concert hall and the so-called “cancel culture” that is allied with the social and political protest movements of the past year, including Black Lives Matter.

That was treated here in a previous post: https://welltempered.wordpress.com/2020/09/19/did-beethoven-and-his-music-especially-the-iconic-fifth-symphony-foster-racism-exclusion-and-elitism-in-the-concert-hall-the-ear-thinks-that-is-pc-nonsense-what-do-you-think/

Here is a link to the complete article by White about the inclusion and absence of first names as it appeared on Slate: https://slate.com/culture/2020/10/fullname-famous-composers-racism-sexism.html

Funny, The Ear thinks of using only last names as little more than a function of: quality, importance and time; of fame and familiarity; and sometimes of promoting clarity and preventing confusion — not of race or gender.

It is why we say Bach (below) when we mean Johann Sebastian, and why we say Wilhelm Friedemann or Carl Philipp Emmanuel or Johann Christian when we mean one of his sons.

It is why we say Richard Strauss to distinguish him from Johann Strauss.

But it also why Haydn means Franz Joseph (below), not his less important brother Michael Haydn.

And why the American composer Henry Cowell is listed with his full name and not just Cowell.

Perhaps one day – if we hear enough of the music by the recently rediscovered Black female composer Florence Price often enough and like it enough – she will be known simply as Price. After all, the Japanese composer Toru Takemitsu is not usually listed as simply Takemitsu. 

Actually, the Ear prefers using full names for all composers — famous or not, male or female, white or black — especially when it is for the general public. But it seems more a matter of politeness, respect and education than of sociopolitical change and social justice.

That is not to say that those of us in classical music don’t see a need to correct the racism and sexism of the past, to foster diversity and inclusiveness. White has a point. Still, the whole idea of using both names in all cases seems more than a bit naïve, superficial and simplistic as a solution to racism and sexism.

It sounds a lot like the kind of theoretical speculation and contrarian thinking you might expect from an assistant professor trying to get noticed and make his mark on big contemporary issues so that he can get tenure and become an associate professor. A high public profile certainly helps that.

But whatever you think of White’s motives or purpose, his essay is causing a “meltdown” on Twitter: https://mybroadband.co.za/forum/threads/‘fullnaming’-mozart-and-beethoven-to-fight-sexism-and-racism-twitter-squabbles-over-slate-article.1108776/

Should you want to know more about Professor White or to leave a message of either support or disagreement, here is a link to his home website: http://www.chriswmwhite.com

What do you think about the idea of using first names for all composers as a way to combat racism and sexism in classical music?

The Ear wants to hear.


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Classical music: What is the best classical music app? A Slate magazine writer thinks he knows. Do you?

January 4, 2013
2 Comments

By Jacob Stockinger

What is the best classical music app ever invented that you can buy?

Reporter Seth Colter Walls (below), who reported on the Mideast and culture for Newsweek and is now with Slate magazine, thinks he knows – and he makes a pretty convincing case.

seth colter  walls 2

The name of the app is The Orchestra and it sells for $13.95. Ad it certainly seems — and SOUNDS — impressive. (Check out the video at the bottom.)

Moreover, the inventor of the app is none other than the Finnish-born composer – recently celebrated for the release of his new prize-winning Violin Concerto – and former music director and conductor of the Los Angeles Philharmonic Esa-Pekka Salonen (below).

esa-pekka-salonen-goes-multimedia-philharmonia-Esa_Pekka_Salonen_Philharmonia

Take a read, listen and make up your own mind. Then let the rest of us know what you think – either from the story by Slate or from your own actual experience with the app.

http://www.slate.com/articles/arts/culturebox/2012/12/the_orchestra_the_best_classical_music_ipad_app_from_esa_pekka_salonen.html

And there is no need to take Slate’s or Salonen’s word for it.

What do you find the best, most useful or most enjoyable classical music app? Let us know your recommendation in the COMMENT section.

The Ear wants to hear.


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