< Previous114 Cliffwood Court Greer, SC 29650 Scientifically developed by a Chemical/Lubrication Engineer to provide: •Fast valve action •Staying power to minimize need for lubrication •Excellent protection against mold and bacterial growth •Used by both pros and beginners alike Ask for it at your local music store.International Trumpet Guild ® J OURNAL to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet Vol. 45, No. 2Peter Wood, EditorJanuary 2021 THE INTERNATIONAL TRUMPET GUILD JOURNAL (ISSN 0363-2845) is published four times per year (October, January, March, June) by the Inter national Trumpet Guild (ITG), P.O. Box 2688, Davenport, IA 52809-2688. POSTMASTER: Send address changes to the same address. John Urness page Kathleen Gaspoz page 81 Kazuaki Kikumoto page 88 John McNeil page 24 F EATURE A RTICLES C OLUMNS R EVIEWS 91 Product/App Reviews 94 Recording Reviews 99 Music Reviews 103 Book Reviews A DMINISTRATIVE 33 Index of Journal Advertisers 110 2021 ITG Conference Information 118 ITG Legacy Endowment Information ITG Journal Advertisement Information (inside back cover) 3 From the President 4 From the Editor 5 ITG Calendar 45 His torical Instruments Window: Pocket cornet in B-flat, A, and C by Jérôme Thibouville-Lamy & Cie., Paris, ca. 1900 – 1905 48 ITG Profile: Armida Rivera 49 ITG Young Artist Award: Fiona Shonik 50 Clinic: An Interview with Trumpet Builder Clark Mazzio by Paul Gaspar 54 Pedagogical Topics: Thoughts on Teaching Young Students by Mark Dulin 57 The Student Corner: Keeping the “Fun” in Fundamental Practice During a Pandemic by Megan Bailey 59 Editor’s Corner: Tutti’s Trumpets by Don Petersen 61 Jazz Corner: Teaching Jazz During a Pandemic, Part I by Chase Sanborn 62 Studio/Commercial Scene: A Casual Chat with Trumpeter Mike Lovatt, Part II by Nick Mondello 69 Cham ber Music Connection: Environmental Trumpet-Chamber Music by Vince DiMartino 70 Repertoire Corner: Aaron Harris’s Advanced Studies for Trumpet by David Bertie 75 Trumpet in the Wind Band: An Interview with Kevin Paul by Marc Reed 78 Marching Arts Corner: Brass Pedagogy from the Football Field to the Concert Hall by Peter Bond 81 Cornet in the Brass Band: Kathleen Gaspoz: Breaking Down Walls by Bryan Appleby-Wineberg 85 Inside the Orchestra Section: An American in Toluca: Performing as an Expatriate by John Urness 88 Orchestra Section Profile: Kazuaki Kikumoto, Principal Trumpet, NHK Symphony Orchestra by Max Matzen 104 News from the Trumpet World 6 *The Impact of Representation in the Arts: How Racism Is Manifested in the Classical Trumpet World by Amanda Ross 16 Your Trumpet and Your Life: A Career Planning Guide for Aspiring Players by Grant Manhart ITG’s 2019 Commission: Clarice Assad’s Pendulum by Luis C. Engelke 24 John McNeil: Overcoming by Thomas Erdmann 36 Music for Brass: A History of the Robert King Music Company by Judith D. King 46 ITG Presents: The Ryan Anthony Memorial Trumpet Competition by Mary Thornton M AIN M ENU S EARCH J ANUARY 2020 ITG J OURNAL T ABLE OF C ONTENTS2 ITG Journal / January 2021 © 2021 International Trumpet Guild 2019 – 2021 Board of Directors Executive Committee President: Grant Peters, Missouri State University; president@trumpetguild.org Vice-President/President-Elect: Jason Bergman, Brigham Young University; vicepresident@trumpetguild.org Secretary: Elisa Koehler, Winthrop University; secretary@trumpetguild.org Treasurer: Dixie Burress; treasurer@trumpetguild.org Past President: Cathy Leach, University of Tennessee; pastpresident@trumpetguild.org Directors Michael Anderson, Oklahoma City University; Alexis Morales Barrientos, University of Costa Rica; André Bonnici, Les Trompettes de Lyon, France; Joseph Bowman, Mahidol University, Thailand; Jennifer Dearden, Allegheny College; Jason Dovel, University of Kentucky; Tina Erickson, University of Tennessee; John Foster, Australian Baroque Brass; Ryan Gardner, University of Colorado; Christopher Moore, Florida State University; Nadje Noordhuis, New York, NY; Raquel Rodriquez Samayoa, University of North Texas; Chen Rui, Tianjin Conservatory of Music; Chase Sanborn, University of Toronto; Amy Schendel, University of Iowa; Mary Thornton, Texas A&M University – Corpus Christi; Brian Walker, Tarleton State University; Peter Wood, University of South Alabama Executive Staff Affiliate Chapter Coordinator: Cynthia Carrell, Harding University; chapters@trumpetguild.org Conference Coordinator: Jean-Christophe Dobrzelewski, West Chester University; confcoordinator@trumpetguild.org General Counsel: Robert R. Carl, Baker Donelson ITG Archives Director: Robert Murray, Columbus State University; archives@trumpetguild.org ITG Journal Staff Publications Editor: Peter Wood Department of Music, 1150 Laidlaw Performing Arts Center, University of South Alabama, Mobile, AL 36688; editor@trumpetguild.org Assistant Editor/Principal Proofreader: Jodi Graham Wood Advertising Manager: Jodi Graham Wood; ads@trumpetguild.org Book Reviews Editor: Eric Millard Department of Music, 9201 University City Blvd, Charlotte, NC 28223; bookreviews@trumpetguild.org Calendar Editor: Al Lilly, Marian University; calendar@trumpetguild.org Chamber Music Connection Editor: Marc Reese, Lynn University; chamber@trumpetguild.org Clinic Editor: Frank G. Campos, Ithaca College; clinic@trumpetguild.org Cornet in the Brass Band Editor: Bryan Appleby-Wineberg, Rowan University; cornet@trumpetguild.org Historical Instruments Window Editor: Sabine K. Klaus, National Music Museum; historicinstruments@trumpetguild.org Inside the Orchestra Section Editor: David Bilger, Philadelphia Orchestra; orchestra@trumpetguild.org Index Editor: Kelly Deklinski, The Senri and Osaka International Schools of Kwansei Gakuin; index@trumpetguild.org ITG Profile Editor: Joel Treybig, Belmont University; profile@trumpetguild.org Jazz Corner Editor: Chase Sanborn, University of Toronto; jazzcorner@trumpetguild.org Jazz Editor: Tom Erdmann, Elon University; jazz@trumpetguild.org Layout and Production Manager: Joseph Walters, Albuquerque Philharmonic Orchestra; layout@trumpetguild.org Marching Arts Corner Editor: Aaron Witek, Ithaca College; marchingarts@trumpetguild.org Music Reviews Editor: Luis Engelke Department of Music, Towson University, 8000 York Rd, Towson, MD 21252; musicreviews@trumpetguild.org News from the Trumpet World Editor: Jason Dovel, University of Kentucky; news@trumpetguild.org Orchestra Section Profile Editor: Jason Bergman, Brigham Young University; orchprofile@trumpetguild.org Pedagogical Topics Editor: Jon Burgess, Texas Christian University; pedagogy@trumpetguild.org Product/App Reviews Editor: Brittany Hendricks, Arkansas State University; productreviews@trumpetguild.org Recording Reviews Editor: Daniel Kelly, Texas A&M University- Commerce, 830 Windham Dr, Rockwall, TX 75087; cdreviews@trumpetguild.org Repertoire Corner Editor: Bryan Proksch, Lamar University; repertoire@trumpetguild.org The Student Corner Editor: Rebecca Walenz, Tallahassee, Florida; studentcorner@trumpetguild.org Studio/Commercial Scene Editor: Nick Mondello; studio@trumpetguild.org Trumpet in the Wind Band Editor: Marc Reed, University of Akron; windband@trumpetguild.org Young Artist Award Committee: Anne McNamara (chair), Illinois State University; Matthew Frederick, Emory & Henry College; Ed Jakuboski, Eastern University; Sarah Herbert, University of Wyoming; yaaward@trumpetguild.org Journal Printer: Modern Litho, Jefferson City, MO Proofreading: Jodi Graham Wood, Rebecca Sheppard ITG Website – http://www.trumpetguild.org Director: Michael Anderson, Oklahoma City University; website@trumpetguild.org ITG Editorial Committee Peter Wood, editor, University of South Alabama; David Bohnert, Wayne State University; Joseph Bowman, Mahidol University; Kris Chesky, University of North Texas; Jennifer Dearden, Allegheny College; Kim Dunnick, Ithaca College; James Ford, III, California State University, Los Angeles; Thomas Moore, Rollins College; James Olcott, Minneapolis, Minnesota; Bryan Proksch, Lamar University; Nancy Taylor, University of Texas at El Paso; Mary Thornton, Texas A&M – Corpus Christi Ideas and opinions expressed in this issue are those of individual writ- ers, and are not necessarily those of the editors or of the ITG. Deadlines for receiving information to be published: May 15 (October Journal), August 15 (January Journal), October 15 (March Journal), January 15 (June Journal). ITG Membership Information All ITG memberships run from July 1 to June 30 and include four ITG Journals and annual cd or dvd. The ITG Journal is published each October, January, March and June. Join by visiting www.trumpetguild.org/join/join.htm or using the form at the back of this Journal. Membership Dues: Regular Print, us; Regular Electronic, us; Student or Senior Print, us; Student or Senior Electronic, us. Pay- ment in us dollars may be made through the ITG Website, by check payable to ITG drawn on a us bank or foreign bank with a us branch, money order, visa, MasterCard, or American Express. Change of Address and Membership Inquiries: Dixie Burress, Treasurer International Trumpet Guild P.O. Box 2688 Davenport, IA 52809-2688 membership@trumpetguild.org or treasurer@trumpetguild.org Phone (563) 676-2435 • Fax (413) 403-8899 ITG J OURNAL S TAFF© 2021 International Trumpet Guild January 2021 / ITG Journal 3 F ROM THE P RESIDENT G RANT P ETERS on the ITG Website. This entirely free experience was con- ceived by ITG Advisory Council member Andrea Tofanelli when he suggested that ITG present an online experience for the trumpet community in response to the cancelation of the Conference. We are grateful for Andrea’s leadership and the impressive resulting work by the entire “Listen and Learn” committee, chaired by Aaron Witek, in coordination with ITG Video Editor Aaron Jensen. The number of artists who generously contributed content is inspiring and speaks to the continuing spirit of mutual support that reflects ITG’s mission. If you have not yet taken the time to explore the new ITG Journal archive, please navigate through the process and find out how easy it is to access the entire history of our publication right on the ITG Website. Whether you want to conduct research or just enjoy the interesting history of the Guild, this convenient tool brings efficiency in accessing information and increased relevance to our website. Sincere thanks to Publica- tions Editor Peter Wood, Website Director Michael Anderson, and Layout Manager Joe Walters for this huge undertaking for our benefit. Because we will always prioritize the health and safety of ITG Conference attendees ahead of any other interests, the ongoing concerns surrounding the pandemic forced us to make the announcement in October to transition from a live meeting to an online event that can be enjoyed safely in the location of your choosing. Conference Director JC Dobr zel - ewski, CAC Chair Ryan Gardner, and ITG leadership are well underway with the planning of the Virtual ITG Conference, scheduled for the same days: June – . Stay informed about all the details and find out how to register at the Conference Website (http://www.itgconference.org), from electronic communications, and on our social media platforms. As we begin the new year, I would like to thank everyone who contributes to the success of ITG through the many aspects of service. The selfless, often anonymous, work of vol- unteers allows ITG to be the premiere professional organiza- tion that it is. One member who exemplified this giving spirit as part of the Listen and Learn committee and as chair of the ITG Wind Band Excerpts Competition was United States Air Force Senior Airman Sally Tepper. We are heartbroken that Sally passed away in September, and in her we lost a talented musician and a bright, promising light in our profession. We offer our deepest condolences to Sally’s family and all who had the good fortune to know her. The ITG board election is coming in March. Vice-President Jason Bergman has a fine slate of candidates for you, and I hope you will help steer the direction of ITG by participating in this important aspect of membership. Please vote; it only takes a moment! Despite all that inflicted on our world, great things are happening for our organization. As we begin this new year, remember to be kind to yourself and others. L et me begin by wishing you all a very Happy New Year! Never have we all needed such a major reset from the unprecedented challenges of and the promise of x better things to come in . It is my sincere hope that each of you and your loved ones have successfully navigat- ed the serious health risks of the last year. Many of our mem- bers have experienced serious hardships due to the loss of activ- ities that define the working musician, and with that in mind, much of our work in the last year has been motivated by our sincere desire to offer more value to our members and trum- peters everywhere. It is my pleasure to share some of these ini- tiatives with you here. One of the many important responsibilities of your ITG Board of Directors is the relationships that each member can develop within the ITG membership and the trumpet com- munity at large to further the effectiveness of the Guild. Short- ly after we were forced to cancel the Conference in Columbus, one of our directors, Mary Thornton, had a con- versation with the Dobson family in her hometown of Corpus Christi, Texas. Mary’s relationship with Anne and Hugh Dob- son, both as a teacher of their son, Harmon, and as a fellow supporter of the arts, resulted in substantial philanthropic gifts to ITG. These gifts included covid- relief funds, travel sup- port for conference participation by student trumpet ensem- bles, and—perhaps most exciting—the naming of the annual ITG student competitions to “The Ryan Anthony Memorial Trumpet Competition.” The Dobsons and Niki Anthony have expressed how much Ryan Anthony valued ITG, especially the experience that attending the annual conference afforded young people. Having our own Honorary Award winner’s name on the competitions attaches both prestige and the undeniable spirit of hope that Ryan knew could be found in music. The gen- erosity extends to significant increases in prize money for these competitions and additional travel support to make attendance at the Conference more accessible for young peo- ple. The Dobsons and Niki Anthony have forever changed the Guild’s outreach with their vision, generosity, and trust in our organization with their gifts. Mary Thornton also deserves our sincere appreciation for her work as an ambassa- dor for ITG. Your Board of Directors also understands the importance of young people to the future of ITG. To that end, I proposed that we extend free electronic memberships to the relatively small seventeen-and-under demographic of our membership. The board was in unanimous support of this change, which will, without any additional expense to the Guild, introduce ITG and its full membership benefits to an age group that has largely been missing from our organization. This is a long- overdue investment in our future, and based on the financial difficulties many are experiencing now, it is also the perfect time to offer this welcome incentive to these aspiring trum- peters everywhere. In the fall, ITG presented Listen and Learn, a week-long resource of original video performances and presentations 4 ITG Journal / January 2021 © 2021 International Trumpet Guild F ROM THE E DITOR P ETER W OOD H appy New Year! With finally behind us, we can hopefully look forward to a more positive future, enjoying the fruits of our labor on this instrument we all love. I hope at least a few more gigs are coming your way these days and that brings welcome relief from the anxi- eties of the last year. In this issue, Amanda Ross has contributed an extensive, thought-provoking research article about the racial disparities in the classical music and trumpet world. Luis Engelke talks with the Brazilian Clarice Assad about her life and the piece that she composed for ITG, which is now available to all mem- bers as a free, downloadable Music Supplement. We get to know the legendary creative genius John McNeil, who explains many secrets of his success over the years. Grant Manhart delivers some tough life realities commonly associated with some of the more popular careers to which young musicians aspire. Judith King offers a terrific insider’s history of her father’s Robert King Music Sales company, a labor of love that was run for many years in North Easton, Massachusetts. We also learn about the gift from the Dobson family from Corpus Christi, Texas, whose tremendous generosity enabled ITG to offer greatly enhanced prize awards and rename the annual conference competition “The Ryan Anthony Memorial Trum- pet Competition.” Please check this out; the application dead- line is coming up quickly on February 1. Once again, we offer a full slate of columns that are geared toward a wide variety of trumpet-related interests. In Joel Treybig’s Profile column, we learn about Armida Rivera, the first trumpeter in Mexico to earn a dma. In Frank Cam- pos’s Clinic column, we are introduced to the young trumpet builder Clark Mazzio. In the Pedagogical Topics column, Mark Dulin explains some of the techniques that have proven effec- tive in his extensive experience teaching younger students. In the Studio/Commercial Scene column, Nick Mondello deliv- ers the final installment of his conversation with the uk’s Mike Lovatt. Marc Reed talks with the US Army’s Kevin Paul in the Trumpet in the Wind Band column. In Aaron Witek’s new Marching Arts column, we gain insights from Peter Bond, a drum corps veteran who recently retired from The Metropoli- tan Opera Orchestra, on trumpet playing in both indoor and outdoor settings. Bryan Appleby-Wineberg introduces us to the award-winning Kathleen Gaspoz in the Cornet in the Brass Band column. In David Bilger’s Inside the Orchestra Section column, Wisconsin native John Urness talks about his many exciting experiences as an American with a full-time perform- ance career in Mexico. In the Orchestra Section Profile column, Max Matzen talks with the Japanese trumpeter Kazuaki Kikumoto. These are just a few highlights from this issue; there is much more! Please check it all out. Even in those articles that may be outside your area of expertise, you will probably find some nuggets of wisdom that will resonate with you. Expand your horizons and explore the ITG Journal Index that is available on the ITG Website. Read the older Journal issues that are now available online and see what types of things were important to trumpeters in decades past. We hope that many young trumpeters will take advantage of the free ITG memberships now being offered to people of age seventeen and under. Please spread the word and have your students register! Finally, please vote in the upcoming election for members of the ITG Board of Directors. These people steer the direction our organization takes, and we actively desire your input in their selection. It is quick and easy to cast your ballot online or by mail. Please participate. This “Age of covid,” for me at least, has been a time of both anxiety and opportunity. What helps me is to focus on what I can do, rather than on what I cannot. While it is often difficult, I do my best to stay positive and creative to find enjoyable, effective solutions to the significant challenges being faced. I am certain that many of these techniques that we all discover will continue to be used for years to come, and that, to me, is exciting. I wish you all the best for renewed health, happiness, and prosperity in the new year. Cheers! C ALL FOR N ON -P RO P LAYER A RTICLES ITG members are called upon to submit either a topic proposal or completed article for poten- tial publication in the ITG Journal and/or the Non-Pro Player (npp) section of the ITG Website (https://tinyurl.com/itgnonpro). Additionally, the author may be invited to present the article at a future ITG Conference. The topic of any submission should be of inter- est to the typical npp or specific sub-group. The ITG definition of “npp” is any trumpet player who does not derive the major portion of their income from performing or teaching trumpet. As such, a npp’s playing expertise may lie anywhere from beginner to that of a highly competent pro- fessional player. Submission guidelines and formatting sugges- tions are available on the ITG Website (http://trumpetguild.org/files/itgjinfopack.pdf). Please submit articles or topic proposals to: Dan Hallock Chair, Non-Pro Players Committee dhallock@pacbell.net© 2021 International Trumpet Guild January 2021 / ITG Journal 5 March 11 – 13, 2021: National Trumpet Competition, to be held at the University of Utah, Salt Lake City, Utah (usa). For additional information, check the competition website (http://www.nationaltrumpetcomp.org). June 1 – 5, 2021: Virtual International Trumpet Guild Conference, to be held online. Additional details are available on the ITG Website (http://trumpetguild.org). August 2 – 6 and August 9 – 13, 2021: Fourteenth Annual Trumpet Program at SummerKeys (weeks one and two as separate events), held in Lubec, Maine (usa). Adult trumpet players of all levels and interests are invited and can attend either of the two weeks. Avocational and “comeback” players are especially welcome. Participants will receive a daily group class, a daily one-hour private lesson, practice time and space, and the opportunity to rehearse and perform with a faculty pianist and other musicians. In addition, there is time to enjoy a vacation in this charming Down East coastal village and nearby Campobello Island. The instructor will be Dr. Robert Stibler, emeritus professor of music at the University of New Hampshire. For more information, check the SummerKeys website (http://www.summerkeys.com) or contact Robert Stibler by email (rstibler@unh.edu). ITG C ALENDAR A LBERT L ILLY III, E DITOR To submit calendar items for the ITG Journal and ITG Website, contact Albert Lilly by email (calendar@trumpetguild.org). Please note that submission deadlines are generally more than days before publication, so information about calendar items must be submitted long in advance of the event date. ITG S PONSOR -A-T RUMPETER P ROGRAM The Sponsor-A-Trumpeter (SAT) Program was created to encourage ITG members to donate memberships for trumpet play- ers who are unable to join due to financial circumstances. The names of potential recipients can be forwarded to ITG from members aware of someone in need of this help. For more information, please contact Jason Bergman (sat@trumpetguild.org). I would like to sponsor a membership: n Regular PrintNumber of years_____ x us/year = $________ n Regular ElectronicNumber of years_____ x us/year = $________ n Student/Senior PrintNumber of years_____ x us/year = $________ n Student/Senior ElectronicNumber of years_____ x us/year = $________ n Assign someone for me to sponsor; or n I wish to sponsor this person:_________________________________ Address______________________________________________________ City_______________________State______Zip/Country_____________ Phone_______________________email____________________________ n Check enclosed; or n Charge my: n Amex n MasterCard n Visa Name on Card________________________________________________ Card Number_______________________________CVN Code________ Exp. Date___________Signature_________________________________ Donor Contact (Phone or email)________________________________ Makes checks to: International Trumpet Guild Mail completed form with check or credit card info to: Dixie Burress, ITG Treasurer P.O. Box 2688 Davenport IA 52809-2688 USA or fax form with credit card info to (413) 403-8899 You can sponsor a trumpeter securely through the ITG Website using your credit card and our link to Paypal! www.trumpetguild.org/join/join.htm in case we need to reach you REQUIRED for electronic membership6 ITG Journal / January 2021 © 2021 International Trumpet Guild Introduction As I begin my professional career as an educator and draw my attention to the needs of my future students, I reflect upon my experiences as a student. My path, like that of many of my colleagues and mentors, has common roots: hard work, per- sistence through failure, and the unyielding desire to learn, col- laborate, and perform. The guidance and training I received in my studies from high school through my doctorate have been invaluable. In reviewing all of the academic and pro fessional opportunities I have received during my time in school, I could not help but wonder what would have happened if I had never studied music at such an intense level from an early age. I thought of my colleagues in march- ing and concert bands back at Hopewell High School in Aliquippa, Pennsylvania, an area where over a third of the population lives below the poverty line.1 Most of the fami- lies in my community did not have the financial means to pro- vide their children with music lessons of any kind, let alone participate in highly specialized programs such as the Pitts- burgh Symphony Youth Orchestra. I also thought of all the times I was told that I played well for a woman and that issues related to being a woman would hold me back in the future. I was told that I should look at trumpet as a hobby and find something else to pursue profes- sionally. I remember the countless times I saw my fellow female brass-playing colleagues being passed over for profes- sional performance opportunities and how, while many of them persevered and eventually broke through, many were dis- couraged enough to stop trying altogether. I think of how excited my female students get when I play recordings of great women performers and how these students come to their next lessons with a renewed energy. “I want to do that!” they say. What if they had never heard those recordings? What if they were never introduced to these highly successful female trum- pet players? In looking at my experience and at that of those around me, I see how dire the situation is. How many interested and driv- en youth like myself never had the life-changing opportunities I have been afforded? How many of them were left behind, only to give up their pas- sions because they could not afford it or were denied because of who they are? How many looked into the orchestra halls, prospective schools, and solo performances; saw no one who shared their experiences or identified the way they do; and just gave up? Whose voices are we losing, and what are the consequences? As a future educator, these questions concern me deeply. In an effort to better understand these issues, I began to explore the impact of representation in music with a concentration in trumpet pedagogy in the United States. I drew upon my initial reactions and experiences. Classical music in particular felt more “exclusive” to participate in; if one was a talented mem- ber of an underrepresented community, they were considered an exception. It was not until I started in-depth research on this topic that I became aware of the full extent of the unfair limitations placed on those whose identities (such as race, gen- der, sexual orientation and identity, class, socio-economic sta- tus, disability) are marginalized in classical music study and perform- ance.2, 3 These barriers, both explic- it and implicit, result in largely homogenous, White-dominated demographics of top performing ensembles, conservatories, music schools, and trumpet studios. In surveying trumpet pedagogical materials and commonly used teaching techniques and phrases, I saw that no bipoc4 (Black, Indigenous, and People of Color) musicians were pictured, used as a reference, or even mentioned. This lack of inclusivity reveals oppressive forces simultaneously visible and deeply embedded and systemic—all of which discourage and deny specific groups’ participation and, ultimately, potential for suc- cess in the professional sphere. This article is the beginning of this author’s exploration of the inequities in how classical trumpet students studying in the United States encounter advantages or disadvantages, determined by how their race and identity affect how they are perceived in academia and the pro- fessional world. In the case of classical trumpet, the field is mostly White. Whiteness is embedded within the performing and pedagogical traditions that continue to set the standards for today’s rising musicians. Whiteness and the Arts Whiteness in the Arts is a topic gaining increased attention from Arts educators and researchers. In the Palgrave Handbook on Race and the Arts in Education, a recently published resource on such studies, Rubén Gaztambide- Fernández defines White ness as a social construct centering Whiteness and White culture as is reinforced by laws and policies. In the Arts, West ern Euro- pean aesthetics dominate, and because racism is foundational to Eurocentric understandings of culture and cultural production, it is always implicit in how the Arts and artists are recognized and valued. 5 T HE I MPACT OF R EPRESENTATION IN THE A RTS : H OW R ACISM I S M ANIFESTED IN THE C LASSICAL T RUMPET W ORLD BY A MANDA R OSS FA1 This article was reviewed and approved for publication by the ITG Editorial Committee. “Whose voices are we losing, and what are the consequences?” “Whiteness is embedded within the performing and pedagogical tradi- tions that continue to set the stan- dards for today’s rising musicians.”© 2021 International Trumpet Guild January 2021 / ITG Journal 7 Eurocentric aesthetic values prevail, placing White art/artists at the forefront and as the epitome of creative greatness, dimin- ishing the creative efforts of bipoc art and artists. Because Whiteness is so deeply ingrained into power structures in the Arts, policies and traditions informed by Whiteness are con- sidered normal and correct practice, despite both implicit and explicit bias. Racial hierarchies and stereotypes are also covertly reinforced by microaggressions,6 which are defined as everyday behaviors, gestures, and interactions that intentionally or un - intentionally express bias.7 Even if there is no malicious intent,8 they can be very damaging to a student’s sense of self-worth and belonging, especial- ly if such expressions and actions are perpetrated by people in authority or by peers. For instance, making an assumption about another person’s discipline of study—such as jazz or classical, for example— based on their race, could communicate that they may not fit in within the realm of classical music. Such assumptions and other microaggressions can adversely impact a student’s inter- est in the Arts, its viability as a career,9 and participation in music and the Arts throughout their education.10 The conse- quences of these roadblocks for bipoc students in the music education system are seen in the professional world; only four percent of United States orchestral musicians identify as Black or Latinx, according to a study released by the National Endowment of the Arts in January . Only five percent of classical music listeners identify as African American, while percent identify as White. Less than one percent of administra- tors of orchestras are bipoc. 11 Discourse and discussion about White power dynamics and the negative impact they have in the Arts have largely been silent from administrators and those in positions of power. The Arts have been late to addressing these issues compared to other fields of study, such as business and politics. Notions that society is post-racial and separate from such fields as the Arts, efforts to make art apolitical,12 and omission of race-specific language13 denies the part that race plays in all aspects of society— thus normalizing Whiteness,14 inhibit- ing much-needed discourse, and perpet- uating issues of representation and inclusion in music.15 Whiteness is found throughout a trumpet player’s studies— through the several stages of education and subsequent profes- sional life. Pre-College Opportunities Music, like most areas of study, requires post-secondary schooling to be considered for the majority of teaching and performing jobs. Being admitted to a premier music school or conservatory can lend a significant advantage in the job market, not only because of the specific focus of mastery in the subject of choice, but also due to factors that are not necessarily about musical aptitude and ability. Factors outside a school’s instruc- tion can include prestige of the institution, resources available on campus, and networking opportunities within and beyond school situations.16 Before any of this can be taken into consid- eration, however, factors that impact access to collegiate expe- riences must be taken into account. During high school, most young wind and brass players develop a command over the instrument and decide whether or not a professional musical career is of interest to them. However, due to budg- et cuts in public schools, especially in rural and low-income areas, many fine arts and music classes are losing vital funding, and some are even being can- celed, which greatly limits the opportu- nities within k – schooling for music exposure and study. 17 Because of this, programs like youth symphonies and ensembles, music-specific summer insti- tutes, musical boarding schools, and pri- vate lessons with highly regarded musi- cians become an increasingly important gateway into intensive music study. These opportunities offer invaluable connections to the collegiate and professional world, performing experi- ences, and sense of community within one’s section. However, accessibility to these advantages is not equal. While many youth programs offer financial assistance to applicants in need, membership and involvement in these activities still often involve high fees not covered by financial aid, extensive travel, significant time commitment, and requirements for top-of- the-line instruments and equipment. These substantial finan- cial and time expenses make many of these enrichment oppor- tunities available to only those from families with expendable resources,18 creating a knowledge gap between lower- and higher-socioeconomic-class families. 19 In “Compelling Ques- tions about Music, Education, and Socioeconomic Status,” Dr. Adria Hoffman states that restrictions to these “entry points” from the very beginning limit the potential for future growth and interest in music. This leads to representation in music programs that do not reflect the community at large. In polling some of the nation’s leading youth programs, common trends can be found. All boast a track record of sending students to some of the top music colleges20 and feature an alumni list of some of today’s most successful artists. All also had resources for financial aid, scholarships focused on making enrollment more accessible, and a commitment to diversity within their student body. However, there are still accessibility issues that persist through- out. One top-tier Arts boarding school had a tuition fee of over , for the – academic year for students who live locally and commute. The tuition rises to over , 21 for students who live on campus, which is a common option due its remote location. While the majority of students receive either merit- or need-based financial aid to cover tuition, addi- tional fees including health insurance, materials fees, and per- sonal ownership of a laptop computer are not covered by financial aid.22, 23 Another highly regarded program with simi- “Racial hierarchies and stereo- types are also covertly rein- forced by microaggressions, which are defined as everyday behaviors, gestures, and inter- actions that intentionally or unintentionally express bias.” “Discourse and discussion about White power dynamics and the negative impact they have in the Arts have largely been silent from administrators and those in positions of power.”Next >