In the world of classical music, competitions have long been a fixture — stages where young musicians showcase their skills, push artistic boundaries, and compete for recognition. Over the past few decades, their number has grown steadily. From prestigious international contests like the Chopin Competition in Warsaw or the Van Cliburn in Texas, to the countless local and regional events that fill conservatory calendars, the competition circuit has become an inescapable part of many young musicians’ lives.

But as competitions multiply, so too does the debate around them. Are these contests a valuable training ground and springboard for careers, or do they distort the very purpose of music-making?

For some, competitions are essential stepping stones. Eddison Chen, a young pianist who has participated in multiple events, describes his experience as both beneficial and challenging.

“I tend to view them in a neutral manner and take all of the results with a grain of salt,” Chen said. “Competitions are a motivation and a sort of reality check for myself — to hear other people, to learn from other people, and to play with other people.”

That motivation often proves valuable for young performers. Preparing for a competition pushes them to refine their repertoire to a level of polish that might not otherwise be required in day-to-day practice. The prospect of an upcoming performance can sharpen focus, reduce procrastination, and help build resilience against stage fright.

At the same time, Chen acknowledges the pressure. “Competitions can be extremely stressful for everyone involved, which is why I try to limit myself to select competitions,” he explained. Still, he sees value in the variety of contests available, arguing that “most competitions are philanthropic in that they require donations in order to operate; they don’t really make any money.”

Other young musicians take a more skeptical view. Jackson Hong, a student violinist who has not entered competitions but has observed them closely, admires their potential but remains wary of their pitfalls.

“I view them positively and honestly [as] fun,” Hong said. “However, I think they can breed stressful environments and the artfulness of one’s playing can be subjective.”

For Hong, the subjective nature of judging raises questions about fairness. “They can help bring out talent and dedication to an instrument, along with building determination,” he acknowledged, “but I think that competitions can greatly hinder someone’s mental state, and can corrupt their playing as a whole.”

While he doesn’t believe competitions are exploitative, Hong does see financial incentives at play. “I think money and rewards are a big part of competitions,” he noted. “However, I find comparing your musical ability to others’ is more important. That said, I don’t believe that competitions are focused on making money, but rewards can be an incentive to participate.”

Teachers, who guide students through preparation and performance, often walk a delicate line when advising young musicians about competitions.

Chanel Wang, who has advanced to the later rounds in major competitions like the Chopin National Competition and the Gina Bachauer International Competition, is also a young teacher.

She believes competitions really “depend on [your] mindset. If you see competitions as an event that could push your limits then it’s more of a positive outcome. But if you do it because you want to win, then it definitely doesn’t help your personal growth.”

As a rising teacher herself, she believes that “in the end, you are the one that needs to build the craftsmanship.” Teachers, to her, are just there for support. 

Many educators emphasize that competitions should serve as milestones rather than ultimate goals. The value lies not in winning but in the disciplined preparation and the growth that occurs along the way.

At the same time, competitions have become highly visible public events. In an era where classical music often struggles to maintain mainstream attention, contests attract press coverage and audiences that might not otherwise engage with the genre. For some listeners, competitions offer an accessible entry point into the classical world.

Ultimately, the debate about competitions reflects broader tensions in classical music itself: the balance between tradition and innovation, career advancement and artistic integrity, discipline and freedom.

For Chen, the key is moderation. Participating in competitions offers invaluable lessons, but not at the cost of one’s love for music. For Hong, the concern lies in preserving the spirit of artistry in the face of competitive pressures.

The truth may lie somewhere in between. Competitions can be crucibles of growth, but only if approached with perspective: as one part of a lifelong journey in music, not the final destination.

As more young musicians navigate this landscape, teachers, professionals, and audiences alike continue to grapple with the same question: should classical music be measured, ranked, and judged, or should it simply be played, heard, and felt?

This article was written for the Yale Daily News’ 2025 Summer Journalism Program for high school students.