Young, female and entrepreneurial? Exploring the working lives of young women in the classical music profession
Lead Research Organisation:
King's College London
Department Name: Culture Media and Creative Industries
Abstract
This project brings into dialogue research on work in the cultural industries, and feminist debates about young women's negotiations of changing gender relations in contemporary Western societies. On a theoretical level, these two bodies of literature are linked through the notion of the 'enterprising subject' which the sociologist Paul Du Gay has described as a calculating individual who adopts an economic perspective to his or her life in order to better himself/herself. As research on the cultural industries has shown, cultural workers are regarded and celebrated as model entrepreneurs due to the cultural sector's emphasis on competition, self-application and autonomy in the context of creative fulfilment. Similarly, the category 'young woman' has become associated with the values of entrepreneurialism and related notions of self-improvement, responsibility and flexibility. Public, policy and media discourses portray young women as 'can-do girls' who capably optimise the increased opportunities offered to them in contemporary Western societies. Research to date thus suggests that young, female cultural workers may be the quintessence of entrepreneurialism.
On an empirical level, the spheres of cultural work and young femininity will be brought together by exploring how entrepreneurialism is lived out by early-career, female cultural workers. The project will focus on the field of classical music in particular: entrepreneurialism is key to success in the classical music world and yet, there is little research that explores how entrepreneurial selfhood is experienced in classical music and beyond. And while it has been acknowledged that female musicians have historically faced considerable discrimination, few studies have examined female musicians' experiences of working in classical music, and how these may also be affected by race and class background.
This project seeks to address these gaps by drawing on in-depth interviews and observing early-career, female classical musicians in their professional lives. Interviews will be conducted prior to the beginning of the project (October 2012 - June 2013) to lay the groundwork for, and organise, an extended period of ethnographic research. Ethnographic research refers to the study of people in naturally occurring settings and, in the context of this project, will involve the researcher observing the musicians at different sites, such as the Music College and/or Conservatoire, private practice, private lessons, rehearsals, master-classes, recording sessions and concerts. The fieldwork will be conducted in Berlin and London in order to place cultural work in its spatial context. London and Berlin are chosen because they both have vibrant cultural sectors, but contrast sharply in terms of relevant factors ranging from living costs to cultural policy. What it feels like to work as a classical musician may differ in London and Berlin, necessitating the need to explore musicians' working lives in different cities.
Thus, this interdisciplinary project will address what has been described as a surprising lack of research on the working conditions in the cultural industries and the classical music sector. Given the rapid growth of employment in the cultural industries, and the fact that cultural work is regarded as a crucial case study for understanding contemporary working conditions more generally, the question of what these jobs are like is important. Finally, the focus on young, female classical musicians in Berlin and London will enhance our understanding of how entrepreneurialism is lived out in different urban contexts, and will shed light on the emotional experiences of cultural work, and being a young woman in the contemporary era.
On an empirical level, the spheres of cultural work and young femininity will be brought together by exploring how entrepreneurialism is lived out by early-career, female cultural workers. The project will focus on the field of classical music in particular: entrepreneurialism is key to success in the classical music world and yet, there is little research that explores how entrepreneurial selfhood is experienced in classical music and beyond. And while it has been acknowledged that female musicians have historically faced considerable discrimination, few studies have examined female musicians' experiences of working in classical music, and how these may also be affected by race and class background.
This project seeks to address these gaps by drawing on in-depth interviews and observing early-career, female classical musicians in their professional lives. Interviews will be conducted prior to the beginning of the project (October 2012 - June 2013) to lay the groundwork for, and organise, an extended period of ethnographic research. Ethnographic research refers to the study of people in naturally occurring settings and, in the context of this project, will involve the researcher observing the musicians at different sites, such as the Music College and/or Conservatoire, private practice, private lessons, rehearsals, master-classes, recording sessions and concerts. The fieldwork will be conducted in Berlin and London in order to place cultural work in its spatial context. London and Berlin are chosen because they both have vibrant cultural sectors, but contrast sharply in terms of relevant factors ranging from living costs to cultural policy. What it feels like to work as a classical musician may differ in London and Berlin, necessitating the need to explore musicians' working lives in different cities.
Thus, this interdisciplinary project will address what has been described as a surprising lack of research on the working conditions in the cultural industries and the classical music sector. Given the rapid growth of employment in the cultural industries, and the fact that cultural work is regarded as a crucial case study for understanding contemporary working conditions more generally, the question of what these jobs are like is important. Finally, the focus on young, female classical musicians in Berlin and London will enhance our understanding of how entrepreneurialism is lived out in different urban contexts, and will shed light on the emotional experiences of cultural work, and being a young woman in the contemporary era.
Planned Impact
The study will benefit the following users in Germany and Britain:
1. Academics and researchers
The study adds to our understanding of the classical music world and some of its gendered, racialised and classed dynamics. In addition, the research offers an original analytical framework by putting into dialogue studies of cultural work with cutting-edge feminist research on the status of young women in contemporary Western societies. The focus on experiences of entrepreneurial selfhood contributes to analyses of entrepreneurialism in cultural work and beyond. Lastly, the research's comparative perspective puts cultural work into its urban setting. The project will thus benefit academics and researchers interested in various issues, such as the classical music profession; gender, cultural work and entrepreneurialism; and cultural work in its urban context.
2. Policy-makers
The cultural industries - which include sectors ranging from film, music, TV and radio - have been subject to growing policy interest in recent years. Identified as a key growth sector, the cultural industries have been promoted in a range of countries, as is evidenced by government-run initiatives, such as the Creative Industries Council in the UK, and 'Initiative Kultur- und Kreativwirtschaft der Bundesregierung' in Germany. This project's focus on cultural work caters to policy-makers' interest in the cultural industries. The dissemination activities will ensure that the study's findings are communicated to policy-makers in Germany and Britain (Greater London Authority; Senate of Berlin; DCMS; German Federal Ministry of Economics and Technology).
3. Interest groups, unions and cultural sector organisations
The project will offer valuable knowledge on the classical music profession, entrepreneurialism and cultural work. The focus on gender, and related issues of race and class, will be of particular interest. While the cultural industries tend to be regarded as egalitarian, the cultural sector is characterised by a substantial lack of workforce diversity in terms of gender, race, class and ability. Cultural sector employers, cultural organisations, campaigning groups, trade unions and charities will benefit from learning about the processes involved in accessing and advancing in the cultural industries and how certain groups may face particular challenges in doing so. Commissioned research and initiatives by unions, funding councils and cultural sector organisations (Musician's Union; HEFCE; Ver.di; Deutscher Musikrat; Deutscher Kulturrat) demonstrate a great interest in these issues in Germany and Britain.
4. Musicians, artists and creatives
While the study explores the working lives of classical musicians, its focus on entrepreneurialism, gender, and cultural work will speak to a wider range of artists and creatives in London and Berlin. The project will be of interest to cultural workers because it offers an empirically based, critical and contextualised understanding of entrepreneurialism and creatives' working lives. In addition, the project's focus on structural inequalities in the creative industries will benefit cultural workers by enhancing their understanding of barriers to entry and career advancement, and ways of addressing these.
5. Media and wider public
The project will explore cultural work, entrepreneurialism, and gender relations in contemporary Western societies with the aim of increasing public awareness and contributing to an informed media and public debate. Through in-depth qualitative research, the project seeks to refine commonly held assumptions about the relationship between entrepreneurialism and creativity; equality in the creative industries; and cultural work in different urban settings. The various dissemination activities, such as the project website, use of social media, and roundtables will provide ample opportunity to engage a wider audience in the research.
1. Academics and researchers
The study adds to our understanding of the classical music world and some of its gendered, racialised and classed dynamics. In addition, the research offers an original analytical framework by putting into dialogue studies of cultural work with cutting-edge feminist research on the status of young women in contemporary Western societies. The focus on experiences of entrepreneurial selfhood contributes to analyses of entrepreneurialism in cultural work and beyond. Lastly, the research's comparative perspective puts cultural work into its urban setting. The project will thus benefit academics and researchers interested in various issues, such as the classical music profession; gender, cultural work and entrepreneurialism; and cultural work in its urban context.
2. Policy-makers
The cultural industries - which include sectors ranging from film, music, TV and radio - have been subject to growing policy interest in recent years. Identified as a key growth sector, the cultural industries have been promoted in a range of countries, as is evidenced by government-run initiatives, such as the Creative Industries Council in the UK, and 'Initiative Kultur- und Kreativwirtschaft der Bundesregierung' in Germany. This project's focus on cultural work caters to policy-makers' interest in the cultural industries. The dissemination activities will ensure that the study's findings are communicated to policy-makers in Germany and Britain (Greater London Authority; Senate of Berlin; DCMS; German Federal Ministry of Economics and Technology).
3. Interest groups, unions and cultural sector organisations
The project will offer valuable knowledge on the classical music profession, entrepreneurialism and cultural work. The focus on gender, and related issues of race and class, will be of particular interest. While the cultural industries tend to be regarded as egalitarian, the cultural sector is characterised by a substantial lack of workforce diversity in terms of gender, race, class and ability. Cultural sector employers, cultural organisations, campaigning groups, trade unions and charities will benefit from learning about the processes involved in accessing and advancing in the cultural industries and how certain groups may face particular challenges in doing so. Commissioned research and initiatives by unions, funding councils and cultural sector organisations (Musician's Union; HEFCE; Ver.di; Deutscher Musikrat; Deutscher Kulturrat) demonstrate a great interest in these issues in Germany and Britain.
4. Musicians, artists and creatives
While the study explores the working lives of classical musicians, its focus on entrepreneurialism, gender, and cultural work will speak to a wider range of artists and creatives in London and Berlin. The project will be of interest to cultural workers because it offers an empirically based, critical and contextualised understanding of entrepreneurialism and creatives' working lives. In addition, the project's focus on structural inequalities in the creative industries will benefit cultural workers by enhancing their understanding of barriers to entry and career advancement, and ways of addressing these.
5. Media and wider public
The project will explore cultural work, entrepreneurialism, and gender relations in contemporary Western societies with the aim of increasing public awareness and contributing to an informed media and public debate. Through in-depth qualitative research, the project seeks to refine commonly held assumptions about the relationship between entrepreneurialism and creativity; equality in the creative industries; and cultural work in different urban settings. The various dissemination activities, such as the project website, use of social media, and roundtables will provide ample opportunity to engage a wider audience in the research.
Organisations
People |
ORCID iD |
| Christina Scharff (Principal Investigator) |
Publications
Bull A
(2021)
Classical music as genre: Hierarchies of value within freelance classical musicians' discourses
in European Journal of Cultural Studies
Christina Scharff
(2020)
From not me to me too: Exploring the trickle-down effects of neoliberal feminism
in Rassegna Italiana di Sociologia
Christina Scharff
(2018)
The classical music industry
Elias, A.
(2017)
Aesthetic Labour: Rethinking Beauty Politics in Neoliberalism
Gill R
(2016)
A Postfeminist Sensibility at Work
in Gender, Work & Organization
Scharff C
(2015)
Blowing your own Trumpet: Exploring the Gendered Dynamics of Self-Promotion in the Classical Music Profession
in The Sociological Review
Scharff C
(2021)
From Unspeakability to Inequality Talk: Why Conversations about Inequalities May Not Lead to Change
in Open Library of Humanities
Scharff C
(2016)
The Psychic Life of Neoliberalism: Mapping the Contours of Entrepreneurial Subjectivity
in Theory, Culture & Society
Scharff CM
(2020)
Explaining Inequalities in the Classical Music Profession
in On Curating
| Description | The original objectives of the study fell into four categories (in order of priority) and were met in the following ways: 1) Conducting original, interdisciplinary and international research The study generated new knowledge in three key areas. First, it contributed to our understanding of inequalities in the classical music profession. Given the dearth of data on the demographic background of classical musicians, the study collected data on the backgrounds of conservatoire students, orchestral players and conservatoire teachers. It complemented these quantitative findings with in-depth study of the ways in which musicians make sense of on-going inequalities and how particular industry practices, such as the emphasis placed on self-promotion, disadvantage women. Second, the research explored how female, classical musicians respond to the ethos of entrepreneurialism. The study identified ten different ways in which the research participants took on an entrepreneurial outlook by, for example, talking about themselves as a 'commodity' that has to be marketed. Third, the study traced the ups and downs of the classical music profession by exploring how musicians cope with insecure work conditions in order to pursue work they feel passionate about. The contrast between Berlin and London was particularly striking in this context: research participants based in Berlin felt that their lives as artists were tenable, whereas musicians in London often shared stories of hardship and anxiety. 2) Maximising impact The research has had impact in and beyond academia. Key findings were published in high-ranking, international journals and presented nationally and internationally, including London, Leicester, Birmingham, Cambridge, Keele, Middlesex, Newcastle, Berlin and Paris. In 2017, I will publish the monograph 'Gender, subjectivity and cultural work: the classical music profession' and the co-edited collection 'Aesthetic Labour: Rethinking Beauty Politics in Neoliberalism'. Beyond academia, the findings were disseminated through the publicly accessible, and widely read, research report 'Equality and Diversity in the Classical Music Profession', a project website, and various radio appearances. Most notably, the programme 'Black, White and Beethoven' was broadcast on the BBC World Service, reaching an audience of around 30 million. Finally, I was invited to discuss the findings at various industry events and in industry publications. 3) Fostering knowledge exchange Over the course of the study, I co-organised two public conferences as well as a public panel discussion, which took place at King's College London and attracted a large national and international audience of academics, practitioners, industry representatives and the general public. The events, featuring academic papers, but also presentations from industry professionals and live music, garnered public interest, which led to invitations to speak to the press, to act as an advisor for industry organisations, and to consult on research conducted by industry bodies as well as individual artistic projects. 4) Developing career and research skills Through these research, impact and knowledge exchange activities, I improved my project management skills, broadened my academic networks, and increased my capacity to engage and impact upon non-academic groups. As a consequence, I was promoted from Lecturer to Senior Lecturer. |
| Exploitation Route | Based on the impact the project has had so far, I believe that findings will be taken forward in academia, the classical music industry, and the wider public. In academia, I have already been invited to give a keynote at a conference on 'Gender and the Creative Economy' and to contribute to the edited collection 'The Classical Music Industry'. With regards to the industry, the organisation London Music Masters has asked me to speak at a series of events on 'Class, race and classical music'. Other industry bodies, such as Trinity Laban Conservatoire, have also shown an interest and invited me to teach a student workshop covering the issues addressed in my research. Indeed, my research has attracted attention outside the classical music profession and I have been approached to consult on issues of equality and diversity in the UK Jazz music sector. Lastly, I plan to organise an event to launch my book 'Gender, subjectivity and cultural work: the classical music profession', which would bring together academics, industry representations and the wider public. By organising such an event, I aim to continue to draw attention to the research and to communicate its findings to a wide audience. |
| Sectors | Creative Economy,Education,Culture, Heritage, Museums and Collections |
| URL | https://blogs.kcl.ac.uk/young-female-and-entrepreneurial/ |
| Description | I began engaging in impact activities in May 2014 by co-organising a conference on the classical music profession, which featured academics, but also practitioners and industry representatives as participants and speakers. As one attendee stated, the conference "was a great day. I actually thought it was pretty outward facing already, with lots of people in the room who work on the frontline of the music profession and music education". Over 100 people registered for the conference, which prompted us to organise another public event (a conference and symposium) in October 2014. These events lent my research public visibility and led to an invitation to speak on a high profile panel on equality and diversity in the classical music profession in December 2014. The panel was chaired by Tom Service (BBC Radio 3; The Guardian) and included, amongst others, Simon Robey (Chair of the board of the Royal Opera House). As an outcome of this event, I was invited to present and share my research on inequalities in the classical music profession several times on BBC Radio 3 (March 2015; March 2016) as well as BBC Radio 4 (September 2015; and March 2016). Indeed, my research featured prominently on the BBC Radio 4 programme Black, White and Beethoven, which was also broadcast on the BBC World Service, reaching an audience of around 30 million. Due to this media exposure, I am now a prominent contact to discuss issues around equality and diversity in the classical music profession. I have had media requests from Channel 4, BBC Berkshire, ITV, The Guardian, and invitations to contribute to industry magazines such as The Sampler and VAN Magazine. Equally important, I have received invitations to speak at high-profile events in the sector, such as, most recently, the 'Nordic Music Days' (September 2017) and the 'Women in Music Breakfast' at the Southbank Centre (March 2018). My public and media engagement played a role in putting the lack of diversity in the classical music profession on the agenda, most notably by providing quantitative evidence. In order to ensure that this evidence is used widely, I wrote the publicly accessible research report 'Equality and Diversity in the Classical Music Profession'. Since the publication of this report in February 2015, I have received consistent feedback about its crucial role in documenting existing inequalities and making them visible. Industry professionals, for example, described the report as "extremely interesting and relevant" and a "great asset". Recently, one of my industry contacts spoke at the annual conference of a key industry body and told me in an email: "Overall, I got really great feedback and my presentation was much more robust and helpful to the audience by including your research". Indeed, my research has attracted the attention of gatekeepers to the industry, one of whom asked for headline numbers to "make an urgent intervention with my senior staff before our audition round starts". Apart from providing previously unavailable evidence to support existing initiatives and change current practice, my impact activities have put me in a position to advise industry bodies on diversity and equality. For example, I am on the Advisory Council of the organisation London Music Masters, but have also had conversations with key industry bodies, one of whom got in touch to ask for my input: "We are currently developing several specific initiatives at [name omitted] relating to equality and diversity in our business - I can see that your own work and insights could help us enormously". My advisory role has also been put to use to collect similar evidence in related fields. The British Academy of Songwriters, Composers & Authors (BASCA) published the report Equality and Diversity in New Music Commission. I provided feedback on the report at an early stage, but also shared my thoughts on a later version. The report's acknowledgements section thanks me (and others) for our "constructive feedback and advice". In summary, the early organisation of public conferences and events, along with active media engagement and the publication of an accessible research report ensured that my research findings were communicated to the public. As a result, the findings from my grant have been used by a range of industry professionals and bodies to 1) make issues around equality and diversity visible by drawing on robust data, 2) change existing practice by using the insights my findings generated, and 3) collect further data in relevant fields with the help of my input. |
| First Year Of Impact | 2014 |
| Sector | Creative Economy,Culture, Heritage, Museums and Collections |
| Impact Types | Cultural |
| Title | Demographic background of conservatoire staff in the UK |
| Description | This data set on British conservatoires includes the 8 conservatoires listed by the Conservatoires UK Admission Service (see http://www.cukas.ac.uk/) and is based on staff listings by department (eg. strings, woodwind, brass, percussion, keyboard etc.). Demographic data was collected in relation to staff members' name, gender, ethnic background, instrument, instrument group, and position. |
| Type Of Material | Database/Collection of data |
| Year Produced | 2016 |
| Provided To Others? | Yes |
| Impact | This data was published and discussed in the publicly accessible report 'Equality and Diversity in the Classical Music Profession'. The report attracted the interest of the media and the wider public, and the quantitative data was of particular interest to readers. |
| URL | http://blogs.kcl.ac.uk/young-female-and-entrepreneurial/files/2014/02/Equality-and-Diversity-in-the-... |
| Title | Demographic background of orchestral players in the UK |
| Description | This data set on British orchestras includes the 61 orchestras listed as full members of the Association of British Orchestras (see http://www.abo.org.uk/members/directory.aspx). Where available (in 43 out of 61 orchestras), demographic data was collected in relation to orchestral members' name, gender, ethnic background, instrument, instrument group, and position, including conductors and artistic directors. |
| Type Of Material | Database/Collection of data |
| Year Produced | 2016 |
| Provided To Others? | Yes |
| Impact | This data was published and discussed in the research report 'Equality and Diversity in the Classical Music Profession'. The report garnered public and media attention, especially due to the quantitative data that was collected. |
| URL | http://blogs.kcl.ac.uk/young-female-and-entrepreneurial/files/2014/02/Equality-and-Diversity-in-the-... |
| Title | Demographic background of staff at German conservatoires |
| Description | This data is based on the 24 conservatoires that are members of the German Association of Music Colleges. (http://www.die-deutschen-musikhochschulen.de/ueber-uns/mitglieder/start/). Data was collected on the gender and ethnic background of conservatoire staff. Data was also analysed in relation to the representation of men and women in particular instrument groups. |
| Type Of Material | Database/Collection of data |
| Year Produced | 2016 |
| Provided To Others? | Yes |
| Impact | This data will be discussed and analysed in my forthcoming monograph. I therefore cannot yet discuss its impact. |
| Description | Article for The Sampler |
| Form Of Engagement Activity | A magazine, newsletter or online publication |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Media (as a channel to the public) |
| Results and Impact | Article for the industry magazine 'The Sampler', which addresses the question of why inequalities in the classical music profession matter. The article contained links to the project website and research report, thus disseminating the research findings to a wider audience. The article also led to a request to advise on an individual artistic project. |
| Year(s) Of Engagement Activity | 2015 |
| URL | http://read.thesampler.org/2015/10/25/christina-scharff-inequalities-in-classical-music-why-do-they-... |
| Description | BBC 3 Interview |
| Form Of Engagement Activity | A press release, press conference or response to a media enquiry/interview |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Public/other audiences |
| Results and Impact | 7 March 2015: BBC Radio 3: Interview with Tom Service about the report 'Equality and Diversity in the Classical Music Profession'. Music Matters. Garnered interest in my research report; disseminated the findings of the research report to a wider public. |
| Year(s) Of Engagement Activity | 2015 |
| URL | http://www.bbc.co.uk/programmes/b051ztht |
| Description | BBC 4/BBC World Service Interview |
| Form Of Engagement Activity | A press release, press conference or response to a media enquiry/interview |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Public/other audiences |
| Results and Impact | BBC Radio 4; 1 March 2016: In Black White and Beethoven, Joseph Harker explores issues around racial inequality in the contemporary classical music profession, taking stock of where we are, and exploring some ideas that could help classical music to engage and reflect the full diversity of contemporary society. Dr Christina Scharff was interviewed for this programme and a further invitation to speak on BBC Radio 3 'Music Matters' (for the second time, in 2016) followed. 'Black, White and Beethoven' was also broadcast on the BBC World Service, reaching an audience of around 30 million. |
| Year(s) Of Engagement Activity | 2015,2016 |
| URL | http://www.bbc.co.uk/programmes/b071tgbk |
| Description | Cited in New York Times piece on women in classical music and specifically the Vienna Philharmonic Orchestra |
| Form Of Engagement Activity | A magazine, newsletter or online publication |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Public/other audiences |
| Results and Impact | Fareh Nayeri, from the New York Times, contacted me about my book 'Gender, Subjectivity, and Cultural Work: The Classical Music Profession'. I sent her a copy and it was cited in a piece she wrote about women in classical music. |
| Year(s) Of Engagement Activity | 2019 |
| URL | https://www.nytimes.com/2019/12/23/arts/music/women-vienna-philharmonic.html |
| Description | Classical Music - Critical Challenges (Conference) |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Other audiences |
| Results and Impact | "Classical Music: Critical Challenges" was the second event in a series of critical debates on contemporary classical music practice. It featured speakers from Canada, the US and the United Kingdom, and represented the views of academics, but also cultural sector partners such as the Musicians' Union. The event covered a wide and fascinating range of topics, including the colonial history of key classical music intuitions in the UK, such as the ABRSM (the exam board of the Royal Schools of Music), the ways in which western classical music travels to other part of the world, and what can be done to change classical music practice. All papers focused on the question of how classical music manages to maintain its status as a hegemonic and, above all, seemingly apolitical art form. By uncovering the politics in classical music practice, the event attempted to debunk this myth. Similar to the May conference, over 70 people registered for the event, demonstrating the great interest in the topic and timeliness of an informed debate. |
| Year(s) Of Engagement Activity | 2014,2015 |
| URL | http://www.kcl.ac.uk/artshums/depts/cmci/eventrecords/2014/classical-music-critical-challenges.aspx |
| Description | Classical Music as Genre: Podcast Interview |
| Form Of Engagement Activity | A press release, press conference or response to a media enquiry/interview |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | Invitation to be interviewed for the US-based podcast series 'Musicians vs the World', an interview-based podcast where I discuss issues and practical tips for musicians that may not have been discussed in music school. |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://frostedlens.com/musicians-vs-the-world/f/why-do-musicians-look-down-on-high-paying-jobs |
| Description | Classical music as contemporary socio-cultural practice (Conference) |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Other audiences |
| Results and Impact | This conference was organised by Christina Scharff and Anna Bull from Goldsmiths College London. Looking at a range of contemporary issues in classical music practice, the conference attracted a large audience, including academics, musicians and various cultural sector partners. King's Council Room was packed all day and the atmosphere was buzzing from early morning until evening. The icing on the cake was Professor Georgina Born's keynote address, which made a wide range of contributions: theoretically, empirically and methodologically. The conference sparked increased interest in classical music practice as a field of study and, in response, we organised another event, called "Classical Music, Critical Challenges". |
| Year(s) Of Engagement Activity | 2014 |
| URL | http://www.kcl.ac.uk/artshums/depts/cmci/eventrecords/2014/socio-cultural-practice.aspx |
| Description | Interviewed for an article on the Kanneh-Mason family with German broadsheet magazine (Die Zeit) |
| Form Of Engagement Activity | A magazine, newsletter or online publication |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Public/other audiences |
| Results and Impact | I was contacted by a journalist who works for the German broadsheet magazine 'Die Zeit'. She had heard me on the Radio (BBC) and was working on an article on the Kanneh-Mason family. She wanted to hear about my research on inequalities in the classical music profession and interviewed me. My research was cited in the final article. |
| Year(s) Of Engagement Activity | 2018 |
| Description | Invitation to Roundtable Event at Birmingham City University |
| Form Of Engagement Activity | A formal working group, expert panel or dialogue |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | Dr Sarah Raine invited me to take part in a roundtable event on Gender and Jazz Research at Birmingham City University. This was funded by an AHRC Creative Economy Engagement Fellowship. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Invitation to deliver a one-hour session as part of departmental research seminar and MA course in Creative, Culture, Community at Canterbury Christ Church University |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Postgraduate students |
| Results and Impact | About 40 students and some staff members attended this talk and said that it changed their thinking on issues around EDI in the cultural and creative industries. |
| Year(s) Of Engagement Activity | 2021 |
| Description | Invitation to give keynote at 'Creative Identities in Transition' conference at the University of Music and Performing Arts Vienna |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | I was asked to give a keynote speech at this conference, which was aimed at academics, but also practitioners. My participation led to an invitation to speak to the Austrian public radio about inequalities in the classical music profession. |
| Year(s) Of Engagement Activity | 2020 |
| Description | Invitation to present a research seminar paper at Sir Zelman Cowen School of Music and Performance, Monash University, Australia |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | I was invited to give a research seminar paper at the Sir Zelman Cowen Schoo of Music and Performance at Monash University, Australia. |
| Year(s) Of Engagement Activity | 2021 |
| Description | Invitation to speak at Mulberry School for Girls in London as part of their 'Feminist Fridays' series |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Schools |
| Results and Impact | I spoke to final year students at Mulberry School for Girls, focusing on issues around gender and work. This talk was informed by my research on the classical music profession and the pupils found it both useful and inspiring. |
| Year(s) Of Engagement Activity | 2021 |
| Description | Invitation to speak at the International Summer Academy Conference on 'Just P(l)ay: Music as Labour' in Austria |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Other audiences |
| Results and Impact | Invitation to participate in a roundtable discussion. |
| Year(s) Of Engagement Activity | 2019 |
| Description | LSE blog |
| Form Of Engagement Activity | Engagement focused website, blog or social media channel |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Public/other audiences |
| Results and Impact | Blog entry in 'The Sampler', a music magazine. The entry garnered interest in my research findings and my research report in particular. |
| Year(s) Of Engagement Activity | 2015 |
| URL | http://read.thesampler.org/2015/10/25/christina-scharff-inequalities-in-classical-music-why-do-they-... |
| Description | London Music Masters (Talk) |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Public/other audiences |
| Results and Impact | 2 Dec 2014: London Music Masters. "Race, class and classical music: Education isn't enough". Speaker on panel with Shaun Bailey, Simon Robey and Kenneth Tharp. Chaired by Tom Service. Introduced my research to many key players in the classical music profession and sparked interest in my research findings. It also led to an invitation to speak at the Advance Network Closing event (also listed here). |
| Year(s) Of Engagement Activity | 2014 |
| Description | Nordic Music Days |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | I was on a panel about the underrepresentation of women in the classical music profession as part of the Nordic Music Days. The panel discussion took place at the Southbank Centre in London. |
| Year(s) Of Engagement Activity | 2017 |
| URL | https://www.southbankcentre.co.uk/whats-on/festivals-series/nordic-music-days |
| Description | Presentation at LSE-Northwestern University symposium |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Postgraduate students |
| Results and Impact | I was invited to present on my ongoing research on women working in the classical music profession. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Presentation at a seminar at the Centre for the Study of Women and Gender at the University of Warwick |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Postgraduate students |
| Results and Impact | I was invited to give a talk about my research on the classical music profession as a seminar of the Centre for the Study of Women and Gender at the University of Warwick. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Project Website |
| Form Of Engagement Activity | Engagement focused website, blog or social media channel |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Public/other audiences |
| Results and Impact | This project website provides information about the various events I organised and took part in as part of my grant. It also provides an overview of the research findings as well as links to the publications related to the grant. The website is interactive, featuring videos, links to audio files, such as the radio interviews I took part in, as well as conference and other event websites. |
| Year(s) Of Engagement Activity | 2014 |
| URL | https://blogs.kcl.ac.uk/young-female-and-entrepreneurial/ |
| Description | Radio Interview for ORF (Austrian Public Radio) |
| Form Of Engagement Activity | A press release, press conference or response to a media enquiry/interview |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Public/other audiences |
| Results and Impact | I was interviewed on Austrian radio about inequalities in the classical music profession. |
| Year(s) Of Engagement Activity | 2020 |
| URL | https://science.orf.at/stories/3200104/ |
| Description | Radio Interview on Music Matters |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Media (as a channel to the public) |
| Results and Impact | 5 March 2016: BBC, Radio 3. Interview with Tom Service on Music Matters about the representation of women in British orchestras |
| Year(s) Of Engagement Activity | 2016 |
| URL | http://www.bbc.co.uk/programmes/b072hc92 |
| Description | Speaker Invitation at Leeds Conservatoire |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Postgraduate students |
| Results and Impact | Speaker invitation at Leeds Conservatoire; delivered a session and engaged with the students. |
| Year(s) Of Engagement Activity | 2021 |
| Description | Submission to APPG on social mobility in the performing arts |
| Form Of Engagement Activity | A formal working group, expert panel or dialogue |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Policymakers/politicians |
| Results and Impact | I was invited to make a submission to the APPG (All party parliamentary group) inquiry: 'Breaking the Class Ceiling in the Arts: an inquiry into social mobility in the creative sector'. I wrote a submission and presented it to the committee in April 2019. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Talk at Musica festival in Manchester |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | I was invited to be a guest speaker at a research symposium at the 2019 Musica festival in Manchester. |
| Year(s) Of Engagement Activity | 2019 |
| Description | The Advance Network (Presentation) |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | The Advance Network Phase 2 Closing Event. "Presentation of research report 'Equality and Diversity in the Classical Music Profession'. London City Hall. This event sparked further interest in my research report and helped disseminate its findings. |
| Year(s) Of Engagement Activity | 2015 |
| URL | https://theadvancenetworkuk.wordpress.com/ |
| Description | VAN magazine article |
| Form Of Engagement Activity | A magazine, newsletter or online publication |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Public/other audiences |
| Results and Impact | VAN Magazine is an independent, classical music magazine and invited me to publish an article about my research. My article addressed the question 'Why aren't we discussing structural inequality in classical music' and reached an international audience. I obtained positive feedback (via email) and requests for advice/further information. |
| Year(s) Of Engagement Activity | 2016 |
| URL | https://www.van-magazine.com/?s=Scharff |
| Description | What lies beneath? (Event) |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Public/other audiences |
| Results and Impact | As part of the 2014 Arts & Humanities Festival, Anna Bull (Goldsmiths, University of London) and Christina Scharff organised a public event on inequalities in the classical music world. The event kicked off with an excellent and deeply touching performance of Sojourner Truth's 1851 speech 'Ain't I a woman?' by the vocalist, cellist, pianist, songwriter and composer Ayanna Witter-Johnson. Apart from several amazing performances by Ayanna Witter-Johnson, the event featured a panel discussion on gender, racial and class inequalities in classical music. Anna Bull discussed the classed and gendered nature of music education, whilst Beverley Mason (medar pysden international) presented her research into effective practices supporting musical progressions for ethnic minority young musicians. Christina Scharff presented the findings from 'Young, Female and Entrepreneurial', and the conductor Alice Farnham talked about Women Conductors at Morley, which is a programme she co-founded to encourage women into the profession. Last but not least, the classical music journalist, novelist and playwright Jessica Duchen discussed gender inequalities in the classical music world and concluded with a call to speak out against them. |
| Year(s) Of Engagement Activity | 2014 |
| URL | http://www.kcl.ac.uk/artshums/ahri/eventrecords/2014-2015/Festival/whatliesbeneath.aspx |
| Description | Women in Music Breakfast |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | I presented the findings from my book 'Gender, Subjectivity, and Cultural Work' at the Women in Music Breakfast at the Southbank Centre. |
| Year(s) Of Engagement Activity | 2018 |