
412 Part Three • Microeconomics of Resource Markets
There have long been allega-
tions of discrimination against
women in the hiring process in
some occupations, but such dis-
crimination is usually difficult to
demonstrate. Economists Clau-
dia Goldin and Cecilia Rouse
spotted a unique opportunity for
testing such discrimination as it
relates to major symphony or-
chestras. In the past, orchestras
relied on their musical directors
to extend invitations to candi-
dates, audition them, and hand-
pick new members. Concerned
with the potential for hiring bias,
in the 1970s and 1980s orches-
tras altered the process in two
ways. First, orchestra members
were included as judges, and,
second, orchestras began open
competitions using blind audi-
tions with a physical screen
(usually a room divider) to con-
ceal the identity of the candi-
dates. (These blind auditions,
however, did not extend to the
final competition in most or-
chestras.) Did the change in pro-
cedures increase the probability
of women being hired?
To answer this question,
Goldin and Rouse studied the or-
chestral management files of au-
ditions for eight major orches-
tras. These records contained the
names of all candidates and iden-
tified those who had advanced to
the next round, including the ulti-
mate winners of the competition.
The researchers then looked for
women in the sample who had
competed in auditions both be-
fore and after the introduction of
the blind screening.
A strong suspicion existed of
bias against women in hiring
musicians for the nation’s finest
orchestras. These positions are
highly desirous, not only be-
cause they are prestigious but
also because they offer high pay
(often more than $75,000 annu-
ally). In 1970 only 5 percent of
the members of the top five
orchestras were women, and
many music directors publicly
suggested that women players,
in general, have less musical
talent.
The change to screens pro-
vided direct evidence of past
discrimination. The screens in-
creased by 50 percent the proba-
bility that a woman would be
advanced from the preliminary
rounds. The screens also greatly
increased the likelihood that a
woman would be selected in the
final round. Without the screens
about 10 percent of all hires
were women, but with the
screens about 35 percent were
women. Today, about 25 percent
of the membership of top sym-
phony orchestras are women.
The screens explain from 25 to
45 percent of the increases in
the proportion of women in the
orchestras studied.
Was the past discrimination
in hiring an example of statisti-
cal discrimination based on, say,
a presumption of greater turn-
over by women or more leaves
for medical (including maternity)
or other reasons? To answer that
question, Goldin and Rouse ex-
amined information on turnover
and leaves of orchestra mem-
bers between 1960 and 1996.
They found that neither differed
by gender, so leaves and turn-
over should not have influenced
hiring decisions.
Instead, the discrimination in
hiring seemed to reflect a taste
for discrimination by musical di-
rectors. Male musical directors
apparently had a positive dis-
crimination coefficient d. At the
fixed (union-determined) wage,
they simply preferred male mu-
sicians, at women’s expense.
Source: Claudia Goldin and Cecilia
Rouse, “Orchestrating Impartiality:
The Impact of ‘Blind’ Auditions on
Female Musicians,” American Eco-
nomic Review, September 2000, pp.
715–741.
ORCHESTRATING IMPARTIALITY
Have “blind” musical auditions, in which screens are
used to hide the identity of candidates, affected the
success of women in obtaining positions in major
symphony orchestras?