Although this article does not say it outright, it’s only logical to conclude from a brief examination that these policies would greatly benefit the Reich’s white, gentile, bourgeois or petit‐bourgeois musicians:

In its rôle as guardian of the ‘artistic life of the nation’ the RMK was especially interested in reforming music education programmes for youth, as well as in training young musicians. By the mid 1930s it had successfully lobbied for increases in state spending for musicians, especially for orchestras; in 1935 standardised wages and maximum work hours for musicians were set by the state, and during the chamber’s first few years, the number of unemployed musicians fell substantially. There was also increased support for lesser-known ‘Aryan’ musicians, and for rediscoveries of forgotten works.

Naturally, the bourgeois state also protected its assets against almost all ‘foreign’ competition:

The bulk of RMK energy was focused on eliminating ‘degenerate influences’ from the musical world.  From its inception, it required all members to be registered, which functioned as a racial screening process.  Two of the most successful Jewish musicians in Germany, conductor Bruno Walter and composer Arnold Schoenberg, were harassed, forced to cancel performances and resign their positions.  Jews began to be systematically purged as a centralised bureaucracy and replaced with more ‘ideologically reliable’ people.  Professional Jewish musicians were fired, and the music of Jewish composers was banned.  There were also comprehensive bans on Poles (with the exception of Chopin), Russians, French (except Bizet) and black musicians.  Many musicians eventually emigrated out of fear and financial desperation, including some of Germany’s leading composers, conductors and instrumental virtuosi.