< Previouslar policies and tuition is open about the cost of attendance after financial aid, which for the – semester was just over ,.24 Tuition and accessibility are also an issue for youth orchestra programs. One prominent organization’s ensembles have tuition rates that range from to a season per ensem- ble.25 While tuition costs can be reduced by to percent through their financial aid program and additional resources are offered with membership (including access to a free lessons program and masterclasses), the ensembles have mandatory rehearsals in a large city for several hours on the weekends,26 which may not be possible for many families. Even programs that are more financially comprehensive in coverage with no- cost tuition and room/board may be located in parts of the country that require expensive flights to reach, which are not covered by the institution. 27 Awareness of the existence of these programs also has an impact on attendance; many opportuni- ties are advertised through word of mouth or at events like concerts and other outreach programs, 28 leaving outside the scope of their pool of potential students those who are not able to attend concerts and other seminars and who are without contact in the industry. Individual instruction can also have high monetary and time costs. Lessons with an experienced professional are integral to a student’s success. Along with providing a foundation in a stu- dent’s playing and approach to music, private-lesson instructors can be an invaluable reference to a student’s inter- est and potential when applying for col- lege music study. Private lessons can be very costly; fees range from to dollars a week, with some going as high as for a one-hour lesson. Locations of these lessons can range from the local music store to the concert hall in the big city, which may not be accessible to some, given the travel time and distance from home. During the covid- pandemic, many of these programs have changed to a remote format; lessons and musical insti- tutes have adapted for the need to social distance by holding their activities on platforms where real-time communication with groups as small as two to much larger can connect and interact. This has also amplified the need for technology that best serves high-quality video and audio, including high-pow- ered laptops, microphones, recording devices, and a reliable high-speed internet connection. These programs can also come with a high tuition cost with little-to-no financial aid for par- ticipants to access the full program, including lessons with pro- fessionals and potential to perform in masterclasses. The tuition, time, and other costs associated with these pro- grams make them inaccessible to students who either do not have the transportation or the financial means to be involved, putting them at a disadvantage compared with students who do participate. Administrators and private educators face the challenge of balancing access and equity with compensation and livelihood for themselves, faculty, and staff, which sustain the vitality of such programs. This makes decisions on fees/tuition, allocation of resources, and aid sources and avail- ability much more complicated. In the United States, socioe- conomic systems limit wealth mobility between generations exponentially more in Black families, with the net worth of Black families being only ten percent of that of White families.29 This gap in financial resources, in conjunction with high tuition costs and program fees, means that more White students will be able to afford these programs, thus perpetuat- ing the high costs that continue to be a barrier to participation for many bipoc students. College Auditions Auditions are one of the most widely used tools to measure musical aptitude throughout a musician’s career,30 whether vying for a solo within a student’s school band, applying for admittance into music schools and colleges, or seeking employment with professional organizations. When consider- ing race in the process of auditioning and the results of a suc- cessful or failed audition, the history is troubling. In literature dating back to the early s, the high level of musical per- formance needed to be successful in auditions was considered to be a sign of well-being and experience. This was also a sign that they were “well-bred” 31 and, thus, desirable for acceptance for study or employment. Despite several studies suggesting no difference in musical ability between the races, the virtuosity of Anglo-Saxon music, and, in turn, Whiteness, is upheld as the model of comparison for other styles. The ability to perform Western classical instruments and repertoire well, an attribute of Whiteness, was considered wholesome and an activity per- formed by the highly intelligent, such as businessmen and lawyers. Historically, this link between musi- cal aptitude and Eurocentric standards and intelligence were studied by both the National Association for Music Education and eugenics societies in the United States.32 Initial studies into the viability of measuring musical talent and the role of eugenics in music education occurred at the Eastman School of Music under the guidance of famed music psychologist Carl E. Seashore and the Eugenics Records Office, directed by the leader of the American Eugenics Movement, Charles Daven- port. 33 Further, it was believed that high musical ability and intelligence were inherited, not completely attainable through practice. In using these studies to admit only the highest-qual- ity students at prestigious musical institutions, researchers cre- ated the standard of Whiteness, separating those with identi- fiers outside of Whiteness and making it much harder for bipoc persons to compete against their White counterparts for spots in a studio or ensemble.34 Studies also show links between non-musical factors and evaluation. One notable study conducted by Dr. Sandra A. Howard, professor of music at Keene State College, revealed bias from judges, consisting of high school, undergraduate, and graduate students who evaluated both audio-only and video solo vocal performance auditions. When the visual ele- ment was added through the video auditions, scores were lower than their audio-only counterparts,35 suggesting that judge- ment based on appearance was a significant factor in scoring and evaluation. While not specifically targeted in Howard’s study, another highly cited study by Charles A. Elliott, pub- lished in the Winter edition of the Bulletin of the Council for Research in Music Education, explored the correlation between specific factors such as race and gender in evaluation. Using four flutists and four trumpeters, with one Black male and female and one White male and female on each instru- ment, the study used video performances of short etudes as 8 ITG Journal / January 2021 © 2021 International Trumpet Guild “Individual instruction can also have high monetary and time costs.”© 2021 International Trumpet Guild January 2021 / ITG Journal 9 material for judges, who were undergraduate and graduate music education majors, to score. Despite the audio compo- nent for the flute and trumpet videos being recorded by the same person and dubbed in for all videos, Black students and their videos scored significantly lower than their White counterparts.36 Studies focusing on highly experi- enced educators and adjudicators have yielded conflicting results.37, 38, 39 What remains constant throughout all studies surveyed, though, is that visual aspects do affect what is expected from the stu- dent. Bias based on appearance directly impacts an adjudicator’s ability to judge impartially; if, due to cultural or racial bias, a judge feels like a student will not do an adequate job due to identifying features, it is shown to decrease their chances of success, 40 espe- cially if the repertoire they are performing does not align with a student’s perceived identity.41 With most music schools, festivals, and music camps requir- ing either an in-person or video audition as part of the admis- sion process, obvious concerns arise regarding fairness. If one cannot advance past a pre-screening round, the chance of admittance is very low, if not null. College Admissions Policies Outside of the audition, each school has their own set of cri- teria used to select students for admission and scholarship con- sideration. Unfortunately, affirmative action policies intended to help those who are marginalized in the selection process tend to be unpopular.42 Just how a student’s identity, merit (a very ambiguous and loosely defined term), excellence, family income, geographic location, and test scores develop a repre- sentative portfolio for each student is complex, with these ele- ments interacting with each other in a way that could put someone at an advantage or disadvantage. Whether a student has high test scores and is enrolled in a prestigious Arts school could be determined by family resources and geographic loca- tion of the family, giving those with flexibility a significant advantage.43 Highly selective music schools, programs, and colleges often oppose affirmative action,44 which is represented in the makeup of their student body in relationship to the community at large. While there are no trumpet-related studies regarding studio demographics of top institutions—many of the leading insti- tutions do not post the demographics of their student body publicly—looking at the demographics of the music depart- ments and/or whole institutions when applicable can give a representative picture of the racial disparities that exist within higher education as a whole. For example, one widely known school in the Midwest that makes their demographics accessi- ble to the public reported that in the fall of , out of the , students enrolled in their school of music, identified as Asian, as Black, as Hispanic, 1 as Native American, and as multiracial, 45 while identified as White, with their majority going back as far as . The United States Department of Education’s College Scorecard website, which sources their data from the Integrated Postsecondary Educa- tion Data System, was used to collect data from other presti- gious music institutions across the country. Of those polled, none had more than ten percent of their students who self- identified as Black, and none had over twenty percent who self-identified as Hispanic. Of the schools polled, none had any reported data on those who self-identified as American Indian.46 Another survey of selective colleges showed that only six percent of freshmen were Black, compared to fifteen percent of all college-age Americans; thirteen percent identified as Hispanic, compared to percent who are of college age.47 Racial underrepresen- tation of bipoc students and over- representation of Whites relative to the general population has inc - reased over time, 48 making it even more difficult for individuals of color to earn a spot in their desired program and greatly limit- ing their experiences and professional opportunities. College Once admitted into a trumpet studio within a conservatory and/or classical program, one can expect to learn numerous solo pieces, study from a number of method books for tech- nique and etudes, and perform in a variety of ensembles rang- ing in size from duos to brass ensembles, symphonic bands, and orchestras within the school and regionally. Threading all of these experiences together is the influence of Whiteness, which is seen in the representation in faculty/professionals, solo and ensemble repertoire, and pedagogical materials. Below are some of the ways that college students encounter and interact with racial bias in these areas. Representation. Issues with auditions and policies such as affirmative action affect not only the demographics of the stu- dent body, but also within academia and the professional world. Orchestral auditions have at least one round behind a screen, which improves the chances of avoiding bias due to perceived identity. Once the screen is removed, usually in semifinal and final rounds, evaluations of non-musical factors such as assumed race, gender, and age, among others, becomes a factor. In a interview with wqxr/npr, Weston Sprott, trombonist with The Metropolitan Opera Orchestra and dean of the preparatory division of The Juilliard School,49 claims that he only won auditions that were exclusively behind a screen.50 These issues continue to impact orchestral sections nationwide, with many of the most highly regarded trumpet sections having no bipoc members in their trumpet sections.51, 52, 53 The Chicago Symphony Orchestra is an excep- tion, with membership of Tage Larsen in the section and Este- ban Batallán in the principal position as of .54 These cur- rent statistics are reflective of the analysis of the demo- graphics of orchestras, showing that less than five percent of orchestral musicians are people of color. 55 Members of these institutions, who are also mostly White, 56 are deemed some of the greatest soloists and orchestra performers and are consid- ered the exclusive models of classical trumpet performance with regard to sound, style, and methodology, 57 devaluing those who do not fit this mold. There are signs of growing diversity in trumpet studios in higher education. An increasing number of successful musi- cians, such as Langston J. Fitzgerald, III, at Penn State Univer- “Despite the audio component for the flute and trumpet videos being recorded by the same per- son and dubbed in for all videos, Black students and their videos scored significantly lower than their White counterparts.”sity,58 Courtney Jones at Florida Atlantic University,59 Billy Hunter at the University of Texas – Austin,60 and George Carpten at Northern Kentucky University,61 among others, have been appointed to prominent teaching positions. Addi- tionally, David Hickman’s encyclopedia on trumpet pedagogy, published in , lists a good number of prominent bipoc trumpeters in a wide range of disciplines (their status being elevated as a result of inclusion in this widely used resource).62 However, faculty demographics still do not reflect the actual demographics of the potential stu- dent body at large, with many of the top trumpet programs, with their faculty and administrations, still being disproportionately White. This affects many musical studios across a wide range of instrument groups and genres, with bipoc stu- dents typically being among very few within their cohort.63 Repertoire and pedagogical materials. Historically, the trumpet has roots all across the globe, with early ties to the Middle East, Africa, and Asia. However, study of the trumpet in music schools consists mostly of the European his- tory of the instrument, taking place mostly in Germany, Aus- tria, France, and Russia.64 Western classical music at large sup- ports this trend, with early French treatises on music placing ultimate value and superiority on tonal harmony and inferior- ity to music from outside of one of these European epicenters of culture.65 This can be seen in the repertoire that is studied and performed in solo and ensemble settings, influencing what is considered to be “essential repertoire” and part of the required curriculum focused on Western European composers and music. 66 Ensemble repertoire is highly influenced by professional orchestra and band programming in order to prepare students for jobs in these professional ensembles. Essential repertoire for the orchestra is dominated by European master composers, such as Mozart, Mahler, Brahms, and Beethoven, to name a few. Excerpts of pieces by these composers are used for audi- tions and are thus taught as part of the playing curriculum in schools, influencing what students listen to and study critically. This study of a limited time period and geographic location is problematic; the lack of programming of contemporary music, music from outside of Europe, and pieces by bipoc composers who were previously not performed impacts both awareness of these composers and their works. This creates a significant imbal- ance between these works and the regu- larly programmed orchestral canon. Black composers, such as William Grant Still, Florence Price, Adolphus Hailstork, and Margaret Bond, have faced a number of challenges getting published, in addition to not having adequate funding to produce and perform their works.67 Despite their formal training coming from such pres- tigious institutions as Oberlin and New England Conserv - atory,68 their works were rarely performed. To this day, very few recordings are available of their works and are rarely per- formed,69 thus further limiting their visibility and, in turn, importance to classical music. This is a typical experience of bipoc composers and their music, with much of the study into these pieces and artists remaining on the fringe of classical musical study. Solo repertoire has several of the same issues as ensemble repertoire, with many of the most performed (if not required) coming from the highly studied German, French, Russian, and European-American composers such as Joseph Haydn, Paul Hindemith, Kent Kennan, and Oskar Böhme.70 Several highly regarded works exist by Black composers, such as Trom- ba for trumpet and piano () by Ulysses Kay, a two-time Prix de Rome winner and composition student of Paul Hindemith, Howard Hanson, and Nadia Boulanger. The piece, which was commissioned and premiered by Fred Irby III,71 professor of music and princi- pal trumpet of the Kennedy Center Opera House Musical Theater Orchestra, was called by John Holt (professor of trumpet, University of North Texas) as of an equally high quality as such trum- pet standards as Enescu’s Légende () and Honegger’s Intra- da ().72 Despite this praise, however, Tromba is only rarely performed. The exclusion of pieces like this limit the scope of influence from which composers draw to the Eurocentric, lim- iting styles practiced and recognized to those within the Euro- pean canon. Pedagogical materials are linked to the dominant performers throughout the past years of trumpet study and perform- ance, with many of the widely used method materials and ped- agogical literature written by teachers at the most highly regarded institutions and ensembles in Europe and America. This includes bandmaster and soloist Herbert L. Clarke from the United States, legendary pedagogue Max Schlossberg from Latvia, and cornet soloist and teacher Jean-Baptiste Arban from France.73 In a search for materials written by bipoc ped- agogues, few were found, with Lip Flexibilities: For All Brass Instruments by Bai Lin from Central Conservatory of Music in Beijing, China, as one of the most widely used and recom- mended by professionals today.74 Representation in pedagogical literature with regard to con- tent reflects the identities of the authors; most of the pictures are of White male faces.75 Recently, Hickman’s Trumpet Pedagogy () featured photos of embouchures of various skin colors, genders, and ages—a first of its kind. Results After analyzing the trumpet peda- gogy tree and all of its branches of study and performance, one can clear- ly see the effect of Whiteness. Academic institutions continue to provide a lack of bipoc representation in their faculty and administration, perpetuating the cycle of under rep res ent - ation.76 bipoc students who choose to study classical music have few role models to envision the professional lives they could have in the future, limiting the viability and perceived 10 ITG Journal / January 2021 © 2021 International Trumpet Guild “Black composers, such as Wil - liam Grant Still, Florence Price, Adolphus Hailstork, and Mar- garet Bond, have faced a num- ber of challenges getting pub- lished, in addition to not hav- ing adequate funding to pro- duce and perform their works.” “Representation in pedagogical literature with regard to con- tent reflects the identities of the authors; most of the pic- tures are of White male faces.”© 2021 International Trumpet Guild January 2021 / ITG Journal 11 sustainability of a career in music or music education.77 Disin- terest in recruiting teachers, professionals, and bipoc students impacts representation,78 potentially leading to isolation and marginalization in the classroom79 and professional world. With the small number of bipoc educators in academia, the professional realm, and classrooms80—and seeing how truly detrimental this is to young musicians—it is important to ask what can be done. What Can Be Done? “If you can see it, you can be it.”81 The systemic problems caused by Whiteness within Western classical music in the United States and, in turn, trumpet ped- agogy, is a multifaceted challenge to overcome. Understanding that race is a near-permanent factor82 in how classical music and the trumpet are taught and performed, it is important for educators and performers to make changes in how we teach, perform, structure, and oper- ate our organizations. Many of the resources cited here offer musicians, trumpet professors, and administrators suggestions for creating a more inclusive and representative classical trum- pet community. Representation in professional and academic settings. Tracing diversity from the professional world to beginning music programs shows a trend of minority underrepresenta- tion, perpetuating the low numbers of bipoc students in the field of classical trumpet. The appointment of bipoc musicians to prestigious positions such as principal trumpet of The Met- ropolitan Opera Orchestra (Billy Hunter83), fourth/utility trumpet of the Chicago Symphony (Tage Larsen84), principal trumpet of the Chamber Orchestra of Philadelphia (Rodney Marsalis85), principal clarinet of the New York Philharmonic (Anthony McGill86), and principal flute of the Seattle Sym- phony Orchestra (Demarre McGill 87 ), to name a few, is a clear sign to orchestra members and audiences of their commitment to diversity. The history of interactions between some of these profes- sionals shows just how vital interactions with other bipoc pro- fessionals can be. Billy Hunter, Tage Larsen, and George Carpten are all connected through Dr. Langston J. Fitzgerald, III, who interacted with all of these professionals either in private lessons or through profes- sional engagements. These connec- tions are real-life examples of how having a successful bipoc role model makes it more possible for young bipoc musicians to see their future selves in similar appoint- ments/per formances as successful professional musicians. If bipoc musicians believe that all the sys- tems in place of having a career in music are fair, they will more easily see a tangible version of their own aspirations, making them more likely to consider a career in the Arts and music.88 This sort of mentorship also opens unique and impor- tant channels of communication with the communities89 they serve, creating opportunities for interaction that can further impact bipoc students. Part of making professional groups more diverse is reflecting on the hiring and audition process itself. An article from the New York Times claims that ending blind auditions in conjunc- tion with reprioritizing the orchestra’s values and goals can has- ten the creation of more diverse sections. However, the article’s author also states that doing so could very well also maintain the possibility of keeping “old” hiring practices in place, including discrimination against underrepresented groups in the early audition stages.90 Considering trombonist Weston Sprott’s experience of winning auditions that were fully behind a screen, these concerns are well warranted. Ensuring that all young students have access to music-specific programs, quality instruction, and resources necessary to participate is one of the first steps that administrators of pro- fessional musical institutions can take to ensure a more diverse appli- cant pool. Performing ensembles can utilize extended trial periods for finalists and interviews in order to offer additional ways to gain a full picture of each can- didate and discourage favoritism in the hiring process. Representation in repertoire. Students in art and music need a sense of belonging to be truly invested in the arduous and deeply intensive process of music making.91 Expanding the core curriculum of both solo and ensemble repertoire to include more works by bipoc composers will, through repre- sentation, give a voice to those who are traditionally marginal- ized. Studying music not as one Eurocentric canon, but as an almost limitless set of musical traditions,92, 93 greatly expands the repertoire that students listen to, study, and perform in hopes that a particular composer and their story will resonate with the performer.94, 95 This would also open discussion for how different aspects of identity intersect with race and music, such as gender, age, and ability,96 inviting more people and perspectives into the process of studying and performing music. Recently, many groups and professionals have made changes to ensure that more compositions are learned and performed. The International Trumpet Guild’s selection of Ulysses Kay’s Tromba as the required piece for the ITG Solo Competi- tion97 is a significant step in making the piece part of the widely used canon of repertoire by students and faculty alike. Other works, such as Adolphus Hailstork’s Sonata for Trumpet and Regina Harris Baiocchi’s Miles per Hour have gained more exposure due to the efforts of organi- zations like the Institute for Compos- er Diversity. Their “Spotlights” series offers an easy-to-navigate database to find compositions for each instru- ment written by Black composers. Ashley Killam’s list of trumpet works provides a wide sampling of ages, making it an excellent place to start in finding repertoire past and present.98 Several other resources are available to accommodate the demand for repertoire by bipoc composers and have been foundational in efforts occurring recently to promote this music. Some brass- and trumpet-specific examples are Aaron Horne’s Brass Music by Black Composers: A Bibliography () “If you can see it, you can be it.” “Studying music not as one Euro- centric canon, but as an almost limitless set of musical traditions, greatly expands the repertoire that students listen to, study, and perform in hopes that a particu- lar composer and their story will resonate with the performer.”and Wilson Orrin’s dissertation, “The Contributions of Twen- tieth-Century African American Composers to the Solo Trum- pet Repertoire: A Discussion and Analysis of Selected Works by: Ulysses S. Kay, Adolphus C. Hailstork, Regina Harris Baiocchi, and Charles Lloyd, Jr.” (). Access to music concentration programs. Access to music education programs, both co-curricular and extracurricular, are crucial in developing an interest, awareness, and perform- ing experience needed to play at a high level and to achieve academic acceptance and potential professional success. Keep- ing the Arts as a main part of the core curriculum99 and mak- ing sure those classes are available to everyone, regardless of their class schedule and/or special needs,100 can ensure that stu- dents receive engagement with music. Availability of affordable instrument loan programs takes part of the financial burden off the family, making it easier to participate in band programs in schools101 and in - creasing their potential positive impact and reach. Decisions on funding for the Arts should be a priority of the highest level, as much as efforts to expand stem programs and athletics. Additional programs that exist outside of school should be more accessible in all ways, especially in terms of finances; schedules; and access to information about the process, requirements, and activities.102 Balancing the fair compensa- tion of educators with program costs is essential; creating a space for highly experienced musicians and young profession- als to engage and share where both can thrive without financial barriers is one of the most effective ways to optimize the impact of such programs. Organizations that offer several tiers of participation fees, options to audit parts of their programs, and video recordings of activities such as rehearsals and mas- terclasses that are disseminated in a cost-free format greatly widen the scope of those who can access this extremely valu- able information. Ensuring that these life-changing opportuni- ties are available has the potential to sig- nificantly impact diversity in who par- ticipates in the study and performance of music through college and profes- sional spheres. Through cultivating interest and passion without barriers, many more students will participate. While widening the scope of who reaps the benefits of these programs, it will also cultivate a deeper understanding of music and sense of belonging within the musical community, both of which are proven factors in continued study, interest, and participa- tion at all levels. Musical institutions such as conservatories and symphony orchestras are encouraged to play a central role in this process, such as creating early-age mentoring programs that are affordable and located within the community. 103 Some examples of programs currently in existence are the Music Advancement Program at The Juilliard School,104 Play on Philly,105 and the Sphinx Organization.106 Critical analysis of personal practices and institutional change. Professionals, pedagogues, and administrators alike all have significant roles in changing how bipoc musicians are subordinated and marginalized in classical music. It is the responsibility and duty of those in power to understand the complex dynamics between race and classical music, shying away from the notion that music and the Arts are separate from race and that formal equality is the overarching solu- tion.107 Understanding how much weight policy and history can have on which voices are elevated or marginalized can help illuminate the complexities that make up the comprehensive understanding of Western classical music,108, 109 a tool that can help educators and administrators alike to address issues of inequality in ways that will implement meaningful and long- lasting systemic change. Finally, as professional educators/performers, we must look at our own and our institutions’ practices with a critical lens. We have the responsibility to be aware of microaggressions in our teaching practice and that of our peers and to counter it. 110 Several scholars point to institutions as having authority to change what is taught, what is per- formed, and who is performing, teach- ing, and leading. Music education is a powerful force in influencing values in classical music,111 with the top conservatories, music schools, and performing ensem- bles having the funding and power to start sustaining diversity among their ranks. It is a matter of will.112 In an interview with Brian Wise and Naomi Lewin on npr’s Conducting Business, Sphinx founder Aaron Dworkin poses these questions: “What is the ideal?” “What does it mean to be diverse and inclusive?”113 Ultimately, only when highly presti- gious institutions challenge their relationship with Western classical music’s history and the status quo114 will there be change from within. Resources In recent years, many resources and organizations have been established, which specifically address representation within the classical music community. Considering the paths of suc- cessful bipoc professional musicians intersecting with influence and guid- ance from bipoc mentors throughout their development, efforts such as these are crucial to affording more opportu- nities for young bipoc musicians and ultimately guiding them down a path of success. Below are just a few examples of such groups. While their methodolo- gy differs, their core value of communi- ty and communication between bipoc young musicians and professionals should be viewed as a model for other institutions to do the same within the faculty, administration, and student bodies. Founded in by Aaron P. Dworkin, the Sphinx Organ- ization uses a multifaceted approach in addressing the under- representation of bipoc musicians within the classical music community. The broad reach and accessibility of their pro- grams are key strengths to the organization’s influence throughout a bipoc musician’s studies and professional career. From the early stages of development with the Sphinx Per- formance Academy and the Sphinx Overture lessons program to resources for more advanced students and professionals, such as the Music Assistance Fund and the National Alliance 12 ITG Journal / January 2021 © 2021 International Trumpet Guild “We have the responsibility to be aware of microaggressions in our teaching practice and that of our peers and to counter it.” “Ultimately, only when highly prestigious institutions chal- lenge their relationship with Western classical music’s his- tory and the status quo will there be change from within.”© 2021 International Trumpet Guild January 2021 / ITG Journal 13 for Audition Support, the Sphinx Organization eliminates financial barriers that inhibit a musician’s ability to study music long term and provides the necessary skills, experience, and connections to succeed in the music industry. When more bipoc musicians are successful and earn positions within high- ly visible professional performing ensembles and academic institutions, they are set in a position of influence where they can interact with and inspire the next generation of bipoc musicians. Another important aspect of sustaining the study of music and career viability is building a community and creating con- nections between mentors and young musicians. The Sphinx Competition and the SphinxConnect annual conference offer these kinds of opportunities with the accessibility needed to ensure maximum participation from groups of students who may face barriers in accessing similar events. Premier ensem- bles such as the Sphinx Virtuosi, Sphinx Symphony Orchestra, and the exigence Vocal Ensemble are just a few examples of the professional performing groups that offer invaluable net- working opportunities for working bipoc professionals through highly skilled and moving performances.115 Examples of the power of these personal connections can be found across all the instrument groups in the orchestra; within the brass sec- tion alone, highly successful professionals such as trombonist Weston Sprott and trumpeter Billy Hunter worked with Langston J. Fitzgerald, III, as members of Sphinx performing ensembles. Many resources have become available for students and administrators alike to find a bipoc music educator. Formed in August by oboist and educator Jasmine Daquin, Black Classical Music Educators is an online platform and database whose purpose is to connect Black aspiring classical musicians of all ages and experience levels with highly qualified Black music educators for private lessons in a broad offering of con- centrations, including all instruments of the orchestra, music theory, composition, and conducting. The site also serves as a place for connection for Black musicians and music educators, creating a community of musicians from across the nation who can professionally engage with each other in performance and educational opportunities.116 Considering the role of represen- tation in a student’s academic and ultimately professional path seen in other groups such as the Sphinx Organization, resources such as bcme are a vital resource for students, administrators, and the musical community at large in achieving a more inclu- sive and representative space to learn, create, and perform. Acknowledgements Throughout the formation of this article, I have engaged with several professionals in the field of music and art educa- tion who have helped me greatly. Without their knowledge, experience, and generosity, this article would not be possible. I would like to greatly thank Dr. Jason Bergman; Dr. Langston J. Fitzgerald, III; Dr. Charles Garrett; Professor Frederick Irby, III; Dr. Pamela Lawton; and Dr. Peter Wood. About the author: Amanda Ross is an active musician and educator. She frequently collaborates with artists in the Ann Arbor and Detroit areas, most recently serving as acting prin- cipal trumpet with the Ann Arbor Symphony Orchestra. She has performed with a wide range of ensembles, including the International Contemporary Ensemble, Michigan Chamber Players, and the University of Michigan Faculty Brass Quintet. She recently graduated with a Doctor of Musical Arts degree in trumpet from the University of Michigan, where she served as trumpet instructor and graduate student instructor. Her inter- ests include social justice through performance and pedagogy, interdisciplinary collaboration, and contemporary perform- ance practice. Endnotes 1“Aliquippa, PA,” Data usa, accessed June , , https://tinyurl.com/itg2101a. 2Louis Bergonzi, “Sexual Orientation and Music Educa- tion: Continuing a Tradition,” Music Educators Journal , no. (December ): , https://tinyurl.com/itg2101b. 3Jason M. Silveira, “Perspectives of a Transgender Music Education Student,” Journal of Research in Music Educa- tion (October , ), https://tinyurl.com/itg2101c. 4Sandra Garcia, “Where Did bipoc Come From?,” New York Times, June , , accessed July , , https://tinyurl.com/itg2101d. 5Rubén Gaztambide-Fernández, Amelia M. Kraehe, B. Stephen Carpenter, “The Arts as White Property: An Introduction to Race, Racism, and the Arts in Education,” in Kraehe A., Gaztambide-Fernández R., Carpenter II B. (eds) The Palgrave Handbook of Race and the Arts in Edu- cation (Palgrave Macmillan, Cham, July , ). 6Charles R. Lawrence, “The Id, the Ego, and Equal Protec- tion: Reckoning with Unconscious Racism,” Stanford Law Review , no. (): . doi:10.2307/1228797. 7Andrew Limbong, “Microaggressions Are A Big Deal: How To Talk Them Out And When To Walk Away,” npr, June , , accessed September , , https://tinyurl.com/itg2101e. 8Eduardo Bonilla-Silva, “Rethinking Racism: Toward a Structural Interpretation,” American Sociological Review , no. (): – . 9William Charland, “African American Youth and the Artist’s Identity: Cultural Models and Aspirational Foreclo- sure,” Studies in Art Education , no. (): , , accessed October , , https://tinyurl.com/itg2101f. 10J.B. Acuff, “Smog in the Air: Passive Positions, Deracial- ization, and Erasure in Arts Education,” in Kraehe A., Gaztambide-Fernández R., Carpenter II B. (eds) The Pal- grave Handbook of Race and the Arts in Education (Palgrave Macmillan, Cham, July , ). 11Brian Wise and Naomi Lewin, “American Orchestras Grapple with Lack of Diversity | wqxr | New York’s Clas- sical Music Radio Station,” wqxr, February , , accessed March , , https://tinyurl.com/itg2101g. 12Natasha S. Reid, John Derby, Tracy Cheng, “Investigating Multiracial Identities Through Visual Culture: Coun- ternarratives to Traditional Race Discourses in Art Educa- tion,” in Kraehe A., Gaztambide-Fernández R., Carpenter II B. (eds) The Palgrave Handbook of Race and the Arts in Education (Palgrave Macmillan, Cham, July , ). 13Acuff. 14Ibid. 15Gaztambide-Fernández et al. 16“6 Reasons Why High Schoolers Should Attend a Board- ing School,” Interlochen Center for the Arts, accessed Sep- tember , , https://tinyurl.com/itg2101h. 14 ITG Journal / January 2021 © 2021 International Trumpet Guild 17Emily Wendler, “Decline in School Arts Programs Follows Funding Drop, but Cuts Aren’t Equally Felt | StateImpact Oklahoma,” StateImpact Oklahoma, npr, January , , accessed September , , https://tinyurl.com/itg2101i. 18Wise and Lewin. 19Adria R. Hoffman, “Compelling Questions about Music, Education, and Socioeconomic Status,” Music Educators Journal , no. (September ): – . 20“ – College Acceptances,” Admission, Idyllwild Arts, accessed September , , https://tinyurl.com/itg2101j. 21“Arts Academy Boarding High School: Tuition and Gen- eral Fee Structure,” Cost of Attendance | Interlochen Arts Academy High School, accessed March , , https://tinyurl.com/itg2101k. 22“Tuition and Financial Aid,” Interlochen Center for the Arts, accessed September , , https://tinyurl.com/itg2101L. 23“Admission: Idyllwild Arts—Boarding Arts High School,” Idyllwild Arts, accessed September , , https://tinyurl.com/itg2101m. 24“Affording Walnut Hill,” Walnut Hill School for the Arts, accessed September , , https://tinyurl.com/itg2101n. 25“dmys enrollment,” Detroit Metropolitan Youth Sym- phony, accessed March , . https://tinyurl.com/itg2101o. 26Ibid. 27“nyo-usa Frequently Asked Questions,” accessed Septem- ber , , https://tinyurl.com/itg2101p. 28Candace Allen, “Class, Race and Classical Music,” The Guardian, April , , accessed March , , https://tinyurl.com/itg2101q. 29Fabian T. Pfeffer, Alexandra Killewald, “Intergenerational Wealth Mobility and Racial Inequality,” Socius (January ), https://tinyurl.com/itg2101r. 30Charles A. Elliott, “Race and Gender as Factors in Judg- ments of Musical Performance,” Bulletin of the Council for Research in Music Education (): , . 31Adria R. Hoffman, “Competing Narratives: Musical Apti- tude, Race, and Equity,” in Kraehe A., Gaztambide-Fer- nández R., Carpenter II B. (eds) The Palgrave Handbook of Race and the Arts in Education (Palgrave Macmillan, Cham, July , ). 32Ibid. 33Alexander W. Cowan, “Eugenics at the Eastman School: Music Psychology and the Racialization of Musical Talent,” November , , accessed October , , https://tinyurl.com/itg2101s. 34Hoffman, “Competing Narratives.” 35Sandra A. Howard, “The Effect of Selected Nonmusical Factors on Adjudicators Ratings of High School Solo Vocal Performances,” Journal of Research in Music Educa- tion , no. (): – . 36Elliott, – . 37Howard, . 38Ibid. 39Sam Thompson and Aaron Williamson, “Evaluating Eval- uation: Musical Performance Assessment as a Research Tool,” Music Perception: An Interdisciplinary Journal , no. (): – . doi:10.1525/mp.2003.21.1.21. 40Elliott, . 41Kimberly VanWeelden, “Racially Stereotyped Music and Conductor Race: Perceptions of Performance,” Bulletin of the Council for Research in Music Education (): , . 42Eric Hoover, “What Colleges Want in an Applicant (Everything),” The New York Times, November , , accessed March , , https://tinyurl.com/itg2101t. 43Ibid. 44Anya Kamenetz, “Here’s What’s Going on With Affirma- tive Action and School Admissions,” NPR, July , , accessed March , , https://tinyurl.com/itg2101u. 45“Ethnicity Reports,” Ethnicity Reports | Office of the Reg- istrar, accessed April , , https://tinyurl.com/itg2101v. 46“Compare Schools,” accessed September , , https://tinyurl.com/itg2101w. 47Jeremy Ashkenas, Haeyoun Park, and Adam Pearce, “Even with Affirmative Action, Blacks and Hispanics Are More Underrepresented at Top Colleges Than Years Ago,” The New York Times, August , , accessed March , , https://tinyurl.com/itg2101x. 48Kamenetz. 49“Biography,” accessed July , , https://tinyurl.com/itg2101y. 50Wise and Lewin. 51“Musicians of the Orchestra,” New York Philharmonic, accessed May , , https://tinyurl.com/itg2101z. 52“Meet the Musicians,” accessed May , , https://tinyurl.com/itg2102a. 53“Meet the Orchestra,” accessed June , , https://tinyurl.com/itg2102b. 54“Esteban Batallán Appointed as the cso’s Principal Trum- pet—cso Sounds & Stories,” , cso, September , , https://tinyurl.com/itg2102c. 55Wise and Lewin. 56Edward Tarr, Die Trompete: Ihre Geschichte Von Der Antike Bis Zur Gegenwart (Mainz: Schott, ), . 57David Hickman, Michel Laplace, Edward H. Tarr, Richard Beauchamp, Miriam Hickman, Carolyn Ball, Brian Shook, and Leonard A. Candelaria, Trumpet Greats: A Biographical Dictionary (Chandler, AZ: Hickman Music Editions, ). 58“Langston J. Fitzgerald III,” accessed April , , https://tinyurl.com/itg2102d. 59“Courtney Jones,” accessed April , , https://tinyurl.com/itg2102e. 60“Faculty,” accessed July , , https://tinyurl.com/itg2102f. 61“Faculty + Staff,” accessed July , , https://tinyurl.com/itg2102g. 62David Hickman and Amanda Pepping, Trumpet Pedagogy: A Compendium of Modern Teaching Techniques (Chandler, AZ: Hickman Music Editions, ). 63Pamela Harris Lawton, “Where Is the Color in Art Edu- cation?,” in Kraehe A., Gaztambide-Fernández R., Car- penter II B. (eds) The Palgrave Handbook of Race and the Arts in Education (Palgrave Macmillan, Cham, July , ). 64Tarr, , , . 65Jann Pasler, “Theorizing Race in Nineteenth-Century France: Music as Emblem of Identity,” The Musical Quar- terly , no. (): . 66Juliet Hess, “Musicking Marginalization: Periphrastic Practices in Music Education,” in Kraehe A., Gaztambide- Fernández R., Carpenter II B. (eds) The Palgrave Hand- book of Race and the Arts in Education (Palgrave Macmillan, Cham, July , ). © 2021 International Trumpet Guild January 2021 / ITG Journal 15 67Nseobong Ekpo, “Expanding the American Canon: A Conductor’s Compendium of Black American Orchestral Composers” (dma diss., University of South Carolina, ), . 68Orrin Wilson, “The Contributions of Twentieth Century African American Composers to the Solo Trumpet Reper- toire: A Discussion and Analysis of Selected Works by: Ulysses S. Kay, Adolphus C. Hailstork, Regina Harris Baiocchi, and Charles Lloyd, Jr.” (dma diss., University of Nebraska – Lincoln, ), . 69Ibid. 70Ibid. 71Ibid. 72“fred irby, iii, director,” accessed July , , https://tinyurl.com/itg2102h. 73Tarr, . 74“Bai Lin—View Topic: Trumpet Herald Forum,” accessed September , , https://tinyurl.com/itg2102i. 75Tarr. 76Lawton. 77Ibid. 78bid. 79Hess. 80Wise and Lewin. 81Lawton. 82Derrick A. Bell, “Brown v. Board of Education and the Interest-Convergence Dilemma,” Harvard Law Review , no. (), – , , accessed October , , https://tinyurl.com/itg2102j. 83“Billy Ray Hunter,” accessed July , , https://tinyurl.com/itg2102k. 84“Tage Larsen,” Tage Larsen | Yamaha Artists, accessed May , , https://tinyurl.com/itg2102L. 85Deryl Nerl, “Rodney Marsalis, performing in Allentown, recalls trumpet lessons from his famous cousin Wyn- ton,” December , , accessed July , , https://tinyurl.com/itg2102m. 86“Anthony McGill, Principal Clarinet,” accessed April , , https://tinyurl.com/itg2102n. 87“Demarre McGill, Principal Flute,” accessed July , , https://tinyurl.com/itg2102o. 88Lawton. 89Wise and Lewin. 90Anthony Tommasini, “To Make Orchestras More Diverse, End Blind Auditions,” The New York Times, July , , accessed October , , https://tinyurl.com/itg2102p. 91Lawton. 92Estelle R. Jorgensen, “Intersecting Social Justices and Music Education,” in The Oxford Handbook of Social Jus- tice in Music Education (Oxford: Oxford University Press, ). 93Lise C. Vaugeois, “White Subjectivities, the Arts, and Power in Colonial Canada: Classical Music as White Property,” in: Kraehe A., Gaztambide-Fernández R., Car- penter II B. (eds) The Palgrave Handbook of Race and the Arts in Education (Palgrave Macmillan, Cham, July , ). 94Reid, Derby, and Cheng. 95Bergonzi. 96Reid, Derby, and Cheng. 97“Kay’s Tromba Selected for 2021 ITG Solo Competition,” The International Trumpet Guild, accessed September , , https://tinyurl.com/itg2102q. 98“Spotlights,” accessed September , , https://tinyurl.com/itg2102r. 99Lawton. 100Hoffman, “Compelling Questions.” 101Candace Allen, “Class, Race and Classical Music,” The Guardian, April , , accessed March , , https://tinyurl.com/itg2102s. 102Ibid. 103Wise and Lewin. 104“Music Advancement Program at The Juilliard School,” The Juilliard School, accessed May , , https://tinyurl.com/itg2102t. 105“Who We Are,” Who We Are—Play On, Philly!, accessed May , , https://tinyurl.com/itg2102u. 106“About the Sphinx Organization,” Sphinx Organization, accessed May , , https://tinyurl.com/itg2102v. 107Gaztambide-Fernández et al. 108Patrick Schmidt, “The Ethics of Policy: Why a Social Jus- tice Vision of Music Education Requires a Commitment to Policy Thought,” in The Oxford Handbook of Social Jus- tice in Music Education (Oxford: Oxford University Press, ). 109Marie McCarthy, “Understanding Social Justice from the Perspective of Music Education History,” in The Oxford Handbook of Social Justice in Music Education (Oxford: Oxford University Press, ). 110Acuff. 111McCarthy. 112Hoover. 113Wise and Lewin. 114Hoover. 115“Programs,” accessed August , , https://tinyurl.com/itg2102w. 116“About,” Black Classical Music Educators, accessed August , , https://tinyurl.com/itg2102x. ITG Y OUNG A RTIST A WARD to provide recognition for developing young trumpeters Music teachers and private ins tructors are invited to nominate high school students (age 18 or younger at the date of nomination). Letters of recommendation must include mailing addresses, phone/fax numbers, and email addresses of the teacher and nominee. Winners will receive a free one-year membership to ITG and will be featured in the ITG Journal. Please submit nominations to: Anne McNamara, Chair ITG Young Artist Award Committee yaaward@trumpetguild.orgS o, you excel at trumpet. Great! What is your life going to look like? “I’m going to play Broadway.” “I’m going to play in a rock band, touring.” “I’m going to play in a symphony orchestra.” “I’m going to play in my own group, gigging constantly.” “I’m going to record.” “I’m going to be a professor, teaching young people for the next thirty to forty years.” Great! Go for it. Let’s assume you hit your target. I have found that in our regimen of high school excellence in music, leading to a regimen of passionate and successful university performance and education, critical life avenues are left largely unexplored or left to chance. A passion of mine over the past two decades or so has been to address these gray areas in life preparation for wonderful, passionate, aspiring young trumpeters. In my working life, I have grown and maintained a large cadre of close friends who have excelled in many areas of the trumpet life and have crit- ically observed their lives over many years. Thus, I have a wealth of experi- ence regarding life choices at the beginning, middle, and end of a career. My observations indicate that almost all lifestyle-enhancing elements happen outside of what we normally learn on the instrument. Many are financial realities and opportunities. Though they may seem like it to an aspiring trumpeter, these are not little things, for the focus is always on the music, on the challenges of the instrument. However, they are very large things, for they create a life—your life! It is my goal to reach young trumpeters to make them aware of the power of their decisions and to make them aware of the full range of decisions, with the accompanying short-term, mid-term, and long-term outcomes. I have made a habit of asking trumpet students, “What do you want to do with it, and what do you want your life to look like in ten years?” I have carefully logged the answers. Ninety percent give a shrug of the shoulders and say a version of, “I hope to _____, but it looks like a complete fog from here.” This think- ing is a mental setting that can cause anxiety in even the most stable young person. So, they focus on the short- term and valuable goal of the next solo, the next high note, the next jazz solo, and the next recital or performance and hope for the best. Here are some helpful questions and prompts that go with each of these trumpet life tracks. “I’m going to play on Broadway.” Are you willing to move to New York and cultivate friend- ships with existing pit musicians, which would result in the first call to substitute? I got my first call because a trumpeter was leaving to start a family, and my teacher was well known on Broadway. The musicians called him, and he called me. I got my tour and ended up in New York playing nightly. Are you willing to develop your style, intonation, rhythm, accuracy, tone, range, and sight reading to a level at which you can play anything the pits demand? A flaw in any of those skills will be obvious and derail you in the pits. Often you will get a touring Broadway gig before a Manhat- tan gig. Can you handle life on the road? It is critical that you have made your decisions about alcohol and drugs, for a life of nightly intense and high-level perform- ance usually has both, close at hand. You are playing everyone else’s “great night out,” and this party-nightly thinking has led many musicians down a path of physical, social, musical, and financial decline. A solid awareness of who you are and who you are not helps a young person chart their path. Critical: Do you have a mind and personality that enjoys and thrives on repetition? The Broadway challenge is repeating the same show in perpetuity. If you are highly creative, perhaps this is not the best long-term gig for you. I personally found that after six months it was not for me, and I left to finish my doctorate. My center was reaching people, not a repeated show. This is good to learn early! My departure provided another trumpeter their first Broadway gig. The money I had saved paid for the rest of my doctoral degree, which, in large part, got me my first university teaching gig. “I’m going to play in a rock band, touring.” Getting a gig in a successful touring rock band is a complete- ly random career event, for no one can predict what band catches on. One week a band from Seattle becomes popular and gets a well-funded tour. They hire their friend’s friend who plays trumpet. The next band may be carefully crafted, out of Nashville or Austin, and there is a long list of trum- peters in town willing to hit the road for a stint. If you have been there for several years crafting your brand, name, and connections, you may have a shot. The next band may be out of Iowa, and none of them were music majors, so they don’t know you exist; nor do you know that they exist. A high-paying rock gig is extremely rare. More common is a regional band that does well for a while. You can make enough to pay rent. All rock bands are time sensitive. I have watched Y OUR T RUMPET AND Y OUR L IFE : A C AREER P LANNING G UIDE FOR A SPIRING P LAYERS BY G RANT M ANHART FA2 16 ITG Journal / January 2021 © 2021 International Trumpet Guild “I have made a habit of asking trumpet students, ‘What do you want to do with it, and what do you want your life to look like in ten years?’” “It is critical that you have made your decisions about alcohol and drugs, for a life of nightly intense and high-level performance usu- ally has both, close at hand.”© 2021 International Trumpet Guild January 2021 / ITG Journal 17 young people grow old chasing the dream in a regional band. I actually paid my way through my doctorate, in part, in a rock band we created with some graduate students with a business- major lead singer. We all disbanded as we graduated! In a regionally popular band, the musicians have to keep chasing the dream as their music stays young and their bodies get older while they don’t make enough money to save much beyond hotel and food. Every night is in a bar, festival, or club. Drug and alcohol choices are critical, or they will decide for you. The common scenario is that you wake up in your mid- thirties, wondering what train hit you. You are broke, with no savings, and you don’t know how to get or hold a “straight job.” You start selling insurance or something else, training with -year-olds. I have seen this repeated over and over. Be careful, for the decade and a half of your mid-twenties to thirties is where starting to save is most valuable and most profitable, for the power of com- pounding needs several decades to bear real fruit. If you lived “hand-to-mouthpiece” for fifteen years touring, you are starting from scratch financially, chasing the pack you used to lead. “I’m going to play in a symphony.” This is a more well-known and finite track than the others. The challenge here is twofold: get the gig and keep the gig. ITG does a wonderful job with competitions to hone your skills here. They are highly recommended. Principal players must have a concrete-solid mentality to face the challenge nightly of perfection and excellence. Mind, body, and lifestyle must all be in service to the gig. A close friend of mine described his experience as principal trumpet. “I saw they had scheduled Pictures at an Exhibition in the upcoming season. I started wor- rying about it in April for the Dec - ember concert!” You must work on your mental strength. Most symphony players teach on the side, capitalizing on their professional position for extra income. They must guard their own chops, however. Most never play a note in lessons for the very real fear of picking up the student’s problems in their own playing. The trick here, once you get a gig, is to manage your life around the gig. “I’m going to play in my own group, gigging constantly and freelancing.” I did this while a doctoral student at Indiana University. I had a Dixieland band that became popular at university ath- letic events and then got a regular gig at a restaurant in town. I eventually got calls for conflicting time slots and created a second and a third band, especially on popular football or bas- ketball weekends. This was temporarily profitable. A trum- peter from the studio I was in did this on Long Island, where the population density and financial base supported his con- stant work with the band he created. Parties, conventions, fes- tivals, bar mitzvahs, graduations, and other events piled up, and he eventually created and booked a second and third band. He made more as the booking agent than with his trumpet in his original band. In a life like this, the gig rules. The rule is “Never say no to a gig,” and this makes a “normal” life challenging. “I’m going to record.” This industry has changed radically in the past several dec - ades. A young person would be wise to start a conversation with current trumpeters who do this for a living in order to get their experience and perspective on future mechanics of success in the recording industry. For example, are you willing to move to the major recording centers of Los Angeles, Nashville, Austin, or New York? Are you willing and able to make, grow, and keep the social connec- tions necessary for the first call? This can take years. A dear friend of mine and former student is first call for every major recording needing trumpet in one of the aforementioned cities. He confessed to me recently at an ITG Conference, “Grant, I work constantly—two to three recording gigs daily and live performances all the time—and my wife and I can’t seem to save a dime. We barely pay the mortgage every month on a real modest house.” His frustration was palpable. He can never turn down a gig. “I’m going to be a professor, teaching young people for the next thirty to forty years.” There are two challenges a young person faces with this dream today. First, there are fewer and fewer tenure-track posi- tions available. The Big Ten university I attended for my undergraduate degree just replaced the retiring tenured profes- sor of thirty years with a young person in the position of adjunct professor, which means an hourly wage with no health or retirement plan. This is not a long-term career option, unless you develop a powerful income mechanic outside the lessons and master- class. Second, the university and our rela- tionship to knowledge is being profoundly disrupted, and this has not worked its way “through the system” yet. The impact on higher education in, say, a decade from now is not yet fully known. We can assume there will be as yet unseen opportuni- ties and some current opportunities that will go away. “The common scenario is that you wake up in your mid-thirties, wondering what train hit you.” “The rule is ‘Never say no to a gig,’ and this makes a ‘normal’ life challenging.” S PECIAL M USIC S UPPLEMENT Two Transcendental Etudes by Brandon Ridenour In addition to the ITG commission that we are releas- ing as a Music Supplement with this issue, we are also offering two great etudes by Brandon Ridenour, who will soon be releasing the complete set of ten studies himself. These very attractive advanced etudes each exer- cise a different musical style and/or trumpet-related concept. This pdf file is avail able now for download from the Resources: Special Offerings section of the ITG Website.Next >