Abstract
Classical music has in recent years been under hostile investigation within society as never before: it is alleged to be elitist, sexist and racist, and has been left in a position where it seems unable or unwilling to defend itself. This article, from a British perspective, examines the imprecise but weighted vocabulary which drives the debate, and considers the complex and apparently unresolvable demographic issues around musical representation by identity classification, of whatever kind. The issue of legacy repertoires and quotas is discussed, as well as the concepts of fairness and decolonization, and some of the reasons which drive the selection of musical repertoires.
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