Author Archives: mike@standardsmichigan.com

The relative thinness of most Asian classical music repertoires helps explain why East Asian students so often excel in the Western tradition. Western classical music presents an immense, densely notated canon—centuries of works across every genre, style period, and technical demand—that requires years of systematic absorption. By contrast, the core repertoires of Chinese, Japanese, and Korean court and literati traditions are far smaller in volume and more limited in formal complexity. They rely heavily on oral transmission, short fixed pieces, or improvisation within narrow modal frameworks rather than the cumulative weight of thousands of fully notated, stylistically differentiated scores.

This comparative sparsity leaves Asian students with fewer deeply internalized musical habits, finger patterns, or stylistic reflexes competing for neural and muscular real estate. When they begin serious Western training, their ears and hands encounter less interference from prior classical conditioning. They can therefore allocate nearly all practice time and cognitive resources to mastering the specific demands of Western notation, equal temperament, functional harmony, large-scale form, and historically informed interpretation—without simultaneously maintaining fluency in a rival dense canon. The result is accelerated technical acquisition and a clearer channel for the intense, focused discipline that Western conservatory training rewards.

In other words, no one likes Asian classical music as much as Western classical music — even Asians — and this explains why they outperform Founding Stock American students in most classical orchestras.   Founding Stock Americans are drawn to other American musical traditions.

Shanghai Philharmonic Orchestra