Canon Fodder- Salerni and Ford Talk Music

Breaking News! A major new Study

 

A Look Behind the Grammy Curtain

 

William Ford, Ph.D. and Luchino Discounti

http://www.AtlantaMusicCritic.com

http://www.YouTube.com/@AtlantaMusicCritic

Introduction

The Grammy Awards are given annually by the Recording Academy to recognize outstanding achievements in the music industry. They are considered one of the most prestigious awards in music, alongside the Oscars, Tonys, and Emmys.

To be eligible to vote in the Grammy Awards, Recording Academy voting members must be music professionals with creative or technical credits on commercially released tracks in at least six different tracks in the past five years. Members can nominate and vote in their areas of expertise, with final winners determined through a multi-round voting process. This ensures that awards reflect peer recognition from within the music industry.

Grammy Awards can be perceived as an indicator of musical excellence; in our own studies we have used them as a proxy for quality. But what do they actually reflect when it comes to symphony orchestras? Do these awards truly measure 'quality' in the artistic sense, or could they be more closely tied to how frequently an orchestra records? Obviously, an orchestra cannot receive a Grammy if it releases no recordings. On the other hand, is it possible that the number of Grammy awards an orchestra has received is simply a function of the total number of recordings it has released? This study attempts to discern if the number of Grammys won by an orchestra is a proxy for the number of recordings it has released.

Method

We compiled a list of 21 major U.S. orchestras and obtained two key pieces of data for each:
1. Total number of releases as listed on Discogs.com.
2. All-time total Grammy wins.

Discogs.com is a comprehensive, user-generated online database and marketplace for recorded music. It includes commercial releases in formats such as LPs, CDs, digital albums, and box sets, dating back decades. The term 'releases' here encompasses all cataloged commercial recordings issued under an orchestra’s name, including collaborations, live albums, and reissues. Because Discogs is user-maintained, there may be occasional inconsistencies or omissions, but it remains one of the most extensive publicly accessible sources for discographic data. For this analysis, release counts were taken as a broad indicator of an orchestra’s recording output over its history.

Grammy wins were compiled from public award records, ensuring that only actual wins (and not nominations) were counted.

Analysis

To explore whether frequency of recording activity may be related to Grammy success, the relationship between the total number of releases listed on Discogs.com for each orchestra and their all-time total Grammy wins was examined.

The correlation analysis revealed a moderate positive relationship between total releases and Grammy wins (r ≈ 0.565, p ≈ 0.0076). This suggests that orchestras with more recorded releases tend to also have more Grammy wins, supporting the hypothesis that recording frequency may be an important driver of awards — perhaps more so than subjective notions of 'quality' alone.

However, a simple linear regression revealed that total releases explained only about 12.3% of the variation in Grammy wins (R² ≈ 0.123, p ≈ 0.12). This finding indicates that, while the correlation was statistically significant, the predictive power is limited. The presence of extreme values — such as the very high Discogs.com release counts for the Philadelphia Orchestra and New York Philharmonic — likely contributes both to the correlation and to the variance that weakens the regression’s predictive strength.

  

Figure 1: Correlation between Total Releases and All-Time Grammy Wins.  The orchestra legend appears in Appendix 1.

To better understand how orchestras compare to the statistical model, we created a chart showing which ensembles “overperform” or “underperform” in Grammy wins relative to what would be predicted by their total number of releases. Orchestras plotted above the zero line in this residual chart have more Grammy wins than expected based on their recording output, suggesting that factors beyond frequency — such as repertoire choices, marketing, or artistic distinctiveness — may boost award recognition. Conversely, orchestras below the zero line have fewer wins than predicted, indicating that their recording activity has not translated into proportionate Grammy success. This residuals analysis complements the correlation and regression results: while the moderate positive correlation confirms that recording output is generally associated with more awards, the residuals chart shows that recording frequency alone does not fully explain the distribution of wins, underscoring the multidimensional nature of orchestral recognition.

Table 1. Actual Grammy wins, expected wins based on regression analysis, and the residuals (difference between actual and expected) for each orchestra. Values are rounded to two decimal places.

Unnamed: 0	Orchestra	Releases	Grammy_Wins	Predicted_Wins	Residual
3	Chicago Symphony	1047	64	14.52	49.48
0	Atlanta Symphony	121	27	6.93	20.07
21	San Francisco Symphony	249	16	7.98	8.02
12	Metropolitan Opera Orchestra	378	15	9.04	5.96
15	Nashville Symphony	42	14	6.29	7.71
17	New York Philharmonic	1631	12	19.31	-7.31
2	Boston Symphony	1062	9	14.65	-5.65
19	Philadelphia Orchestra	1960	8	22.01	-14.01
4	Cincinnati Symphony	158	7	7.24	-0.24
14	Minnesota Orchestra	435	7	9.51	-2.51
7	Detroit Symphony	280	6	8.24	-2.24
5	Cleveland Orchestra	867	6	13.05	-7.05
11	Los Angeles Philharmonic	398	5	9.2	-4.2
16	National Symphony	140	4	7.09	-3.09
20	Pittsburgh Symphony	261	4	8.08	-4.08
8	Houston Symphony	105	1	6.8	-5.8
10	Kansas City Symphony	13	1	6.05	-5.05
6	Dallas Symphony	125	1	6.97	-5.97
18	Oregon Symphony	19	1	6.1	-5.1
9	Indianapolis Symphony	38	0	6.25	-6.25
1	Baltimore Symphony	74	0	6.55	-6.55
13	Milwaukee Symphony	24	0	6.14	-6.14

 

Figure 1 presents these data graphically.

 

Findings

These results suggest that while recording frequency is associated with Grammy wins, it is far from the only factor at play. Several orchestras — notably the Chicago Symphony and Los Angeles Philharmonic — have achieved high Grammy counts relative to their total releases, suggesting they may convert recordings into awards at a higher rate. Others, despite substantial discographies, have more modest Grammy tallies.

Discussion

These findings raise important questions about how Grammy wins should be interpreted. It appears that recording frequency matters, but there are other variables that influence the number of Grammy awards an orchestra might receive. One of these variables could be perceived quality, but it could also reflect differences in institutional recording strategies, label partnerships, marketing capacity, and historical legacy.

This study underscores that quality in orchestral performance is multi-dimensional and cannot be captured by a single metric. Peer recognition, critical reviews, audience engagement, and community impact all contribute to a fuller understanding of an orchestra’s stature.

Further research might compare these results with measures of critical acclaim, touring history, or educational outreach to create a more holistic ranking of orchestras.

 

Appendix 1.  Orchestra legend for scatter plot (Figure 1).

Number	Orchestra
1	Atlanta Symph
2	Baltimore Symph
3	Boston Symph
4	Chicago Symph
5	Cincinnati Symph
6	Cleveland Orchestra
7	Dallas Symph
8	Detroit Symph
9	Houston Symph
10	Indianapolis Symph
11	Kansas City Symph
12	Los Angeles Phil
13	Metropolitan Opera Orchestra
14	Milwaukee Symph
15	Minnesota Orchestra (incl. Minneapolis)
16	Nashville Symph
17	National Symph
18	New York Phil
19	Oregon Symph
20	Philadelphia Orchestra
21	Pittsburgh Symph

 

 

 

Best Symphony Orchestras in the United States: A Grammy-Based Comparative Analysis

 

Best Symphony Orchestras in the United States: A Grammy-Based Comparative Analysis

William Ford, Ph.D.

http://www.AtlantaMusicCritic.com

http://www.YouTube.com/@AtlantaMusicCritic

Abstract

This study examines artistic quality among major U.S. symphony orchestras using a nationally recognized and auditable metric: verified Grammy Awards in orchestral categories. While artistic quality is inherently multidimensional and difficult to quantify, the Grammy Awards offer a consistent benchmark for comparison, judged by industry peers under standardized rules and based on publicly available recordings. The analysis is framed by what “quality” means from the perspectives of musicians, concert attendees, and communities. Key findings show that the Chicago Symphony Orchestra leads all U.S. orchestras with 65 verified Grammy wins, followed by the Atlanta Symphony Orchestra, New York Philharmonic, San Francisco Symphony, and Nashville Symphony. The report concludes with limitations of the approach and alternative measures for a more comprehensive assessment.

Introduction

In discussions of orchestral excellence, the concept of “quality” varies by stakeholder. For musicians, quality is expressed through subtle, expressive phrasing; unified blend and tone; precise intonation; and tight ensemble cohesion. For concert attendees, quality encompasses the overall experience—program satisfaction, perceived value for the ticket price, comfort and acoustics of the hall, sight lines, and the emotional impact of the performance. For the community at large, a high-quality orchestra can serve as an economic generator, a marker of civic prestige, and a provider of public goods through education and outreach.

Measuring these facets is challenging because many are intangible and subjective. Critical reviews are expert but inconsistent; ticket sales reflect marketing and local economics; and expert lists may privilege history over current evidence. As a pragmatic starting point, this report uses verified Grammy Awards as a publicly auditable, nationally comparable indicator of excellence in recorded orchestral performance, while recognizing the measure’s limitations.

The Role of the Grammy Awards

The Grammy Awards, administered by the Recording Academy, are determined by voting members who are music-industry professionals. Awards are governed by standardized rules and defined eligibility periods. For orchestras, the most relevant categories include Best Orchestral Performance, Best Opera Recording, Best Classical Album, and Best Engineered Album, Classical. These awards function as a proxy indicator because results are public, processes are auditable, and judgments are rendered by qualified peers based on recorded artifacts that anyone can hear.

To assess the validity of the Grammy awards, it is helpful to understand who makes up the Recording Academy and how it chooses who wins the golden trophy.  The Recording Academy is a learned society of music professionals, including performers, songwriters, producers, engineers, music educators, executives, and others in the creative and technical recording fields. Voting membership requires submission of two peer recommendations, proof of professional credits (e.g., 12 credits in creative work, with at least five recent), and approval ahead of voting deadlines.  The process the Recording Academy uses to determine who receives the golden trophy is: recordings must be released within a 12-month eligibility window; entries are submitted by labels, artists, producers, or Academy members; screening committees confirm category fit and technical criteria; voting members determine nominees (first round) and winners (final round). In orchestral categories, awards typically credit the orchestra and conductor, and technical awards credit engineers/producers when the winning album is the orchestra’s.

Method

The objective was to compile verified Grammy win totals for major U.S. orchestras, counting only awards directly tied to the orchestra’s own recordings. Data were drawn from the Recording Academy’s winners database, official orchestra/label press releases, and major media reports. Nominations were deliberately excluded to avoid conflating recognition with awards and to maintain comparability across ensembles.

Because there is no single authoritative public list of Grammy totals by orchestra, figures were cross-checked across sources. Where historical counts were disputed, the most conservative and defensible totals were selected; documentation is available upon request. Technical categories (e.g., Best Engineered Album, Classical) were included only when the winning album was performed by the orchestra in question.

Findings

The Chicago Symphony Orchestra holds the highest number of verified Grammy Awards among U.S. orchestras (65). The next highest totals are the Atlanta Symphony Orchestra (27), New York Philharmonic (19), San Francisco Symphony (17), and Nashville Symphony (14). The complete ranking appears in Appendix A.  The chart below presents the data for the top ten orchestras.

Discussion

Grammy counts offer a nationally consistent and auditable indicator of achievement in recorded orchestral music, but they are not a comprehensive measure of artistic quality. Results may be influenced by recording budgets, label support, eligibility choices, and marketing resources. Orchestras that prioritize live performance over recording may be underrepresented by this metric, and repertoire tendencies can also shape awards recognition.

Complementary indicators include critical reviews in major publications; peer recognition through other awards (e.g., Gramophone, ASCAP); international touring invitations; repertoire diversity (premieres, contemporary works, underrepresented composers); audience and donor engagement metrics; and independent blind-listening evaluations that reduce reputation bias. Expert opinion rankings (e.g., Gramophone, Classical Music Magazine) add context, but they can reflect historical prestige and individual taste as much as current performance evidence.

Overall, orchestral quality is multidimensional. This study positions verified Grammy awards as one transparent, comparable benchmark that can be tracked over time. A fuller assessment should integrate multiple measures to capture the breadth of artistic achievement, institutional vitality, and community impact.

References

·        Gramophone. (2008). The World’s Greatest Orchestras.

·        Classical Music Magazine. (2023). 50 Greatest Orchestras.

·        Recording Academy. (n.d.). Grammy Awards Winners & Nominees Database.

·        MusicArts.com. An Inside Look at Five of America’s Best Orchestras.

·        ASCAP Foundation. Awards for Adventurous Programming.

 

Appendix A — U.S. Symphony Orchestras by Verified Grammy Wins

The full ranking table of orchestras and verified Grammy totals appears here.

 

Rank	Orchestra	Grammy Wins	Notable Categories Won
1	Chicago Symphony Orchestra	65	Best Orchestral Performance; Best Classical Album; Best Engineered Album, Classical
2	Atlanta Symphony Orchestra	27	Best Choral Performance; Best Classical Album; Best Engineered Album, Classical
3	New York Philharmonic	19	Best Orchestral Performance; Best Classical Album; Best Choral Performance
4	San Francisco Symphony	17	Best Orchestral Performance; Best Opera Recording; Best Classical Album; Best Engineered Album, Classical
5	Nashville Symphony	14	Best Classical Compendium; Best Orchestral Performance; Best Engineered Album, Classical
6	Metropolitan Opera Orchestra	12	Best Opera Recording
7	Boston Symphony Orchestra	11	Best Orchestral Performance; Best Classical Album; Best Engineered Album, Classical
8	Saint Louis Symphony Orchestra	9	Best Orchestral Performance; Best Classical Album; Best Engineered Album, Classical
9	Cleveland Orchestra	7	Best Orchestral Performance; Best Classical Album; Best Engineered Album, Classical
10	Los Angeles Philharmonic	6	Best Orchestral Performance; Best Choral Performance
11	National Symphony Orchestra (at the Kennedy Center)	5	Best Orchestral Performance; Best Classical Album
12	Seattle Symphony	5	Best Orchestral Performance; Best Classical Album; Best Engineered Album, Classical
13	Pittsburgh Symphony Orchestra	3	Best Orchestral Performance; Best Engineered Album, Classical
14	Cincinnati Symphony Orchestra	2	Best Engineered Album, Classical; Best Surround/Immersive Audio Album
15	Minnesota Orchestra	1	Best Orchestral Performance
16	Philadelphia Orchestra	1	Best Orchestral Performance
17	Houston Symphony	1	Best Opera Recording
18	Kansas City Symphony	1	Best Surround/Immersive Audio Album
19	Baltimore Symphony Orchestra	3	Instrumental Soloist(s) with Orchestra; Contemporary Classical Composition
20	Oregon Symphony	0	—
21	Dallas Symphony Orchestra	0	—
22	Detroit Symphony Orchestra	0	—
23	Milwaukee Symphony Orchestra	0	—
24	Utah Symphony & Opera	0	—
25	Indianapolis Symphony (Indiana Symphony Society)	0	—