As someone who has navigated a career in classical music, I often reflect on the privilege and barriers embedded within our society and industry. To this day, I find it baffling how deeply rooted exclusivity persists in classical music. Historical incidents—like the New York Philharmonic’s stark lack of gender and racial diversity until recent decades—highlight this problem. Even today, according to the League of American Orchestras only about 1.8% of orchestral musicians in the U.S. identify as Black, while women represent just 11.1% of conductors holding Music Director positions. These figures illustrate how far we still have to go.
Rather than continuing to divide ourselves into distinct categories—such as women’s groups, LGBTQ+ networks, or ethnic collectives—I propose initiatives that foster collaboration and collective growth across our industry. As a Filipina-American, I didn’t have role models who shared my background as a clarinetist and conductor. Despite this, I’ve found strength in advocating for others who have faced similar struggles, and I’ve learned that meaningful progress requires unity in dismantling structural inequalities.
The classical music industry is notoriously slow to change, hampered by its exclusivity and entrenched traditions. Yet, some organizations are pushing boundaries. The Sphinx Foundation, for example, has increased visibility for Black and Latinx musicians, while the Orchestra of the Americas fosters cross-cultural collaboration among young musicians. Initiatives like the Global Leaders Institute and Academy for Impact Through Music work to inspire global leadership through the arts. However, even with these efforts, the pace of progress remains frustratingly slow. Often, it feels suffocating to see the same individuals in positions of authority perpetuate systemic imbalances that fracture an already fragile ecosystem.
It’s exhausting. It’s difficult. While we appreciate the empathy and support of allies who aren’t marginalized, those of us living these experiences know how profoundly challenging they are. Female-identifying conductors, for example, are often held to higher standards than their male counterparts just to be considered for the same opportunities. The psychological toll of navigating systemic racism and unconscious biases is immense. For women of color, these barriers are magnified by the intersection of multiple identities.
Concrete steps are needed to address these challenges. Orchestras and institutions must embrace transparency in their hiring practices, ensuring blind auditions are coupled with inclusive panel reviews. Funding for mentorship programs specifically aimed at women and people of color in conducting roles could cultivate a more diverse pipeline of talent. Additionally, partnerships between educational institutions and underrepresented communities could create earlier access to music education, helping to build a more inclusive foundation for the next generation of artists.
It’s important to note that classical music isn’t the only industry struggling with these barriers. Fields like tech and engineering also contend with systemic inequities. However, those industries have made measurable progress by embracing diversity initiatives and holding leadership accountable. By contrast, classical music remains tethered to antiquated ideas of tradition and excellence that often exclude anyone outside a narrow demographic. As women of color, we are often expected to climb steeper mountains to achieve the dreams we’ve worked so hard for.
That’s why I’m proud to serve as the Board President of New Works Project, an organization dedicated to providing composers from underrepresented communities with opportunities to collaborate with active performers. Through commissions and performances, we aim to amplify voices that have been historically silenced. While we’re a small organization, I believe that change begins with small, consistent steps. Building something meaningful takes time, patience, and collective effort, and I’m committed to contributing to this progress.
Classical music has the potential to become a more inclusive and vibrant community if we work together to break down barriers. Whether it’s rethinking how we hire, building mentorship opportunities, or amplifying underrepresented voices, every step forward matters. Change may be slow, but it is possible—and it is worth fighting for.
Kristine Dizon, PhD
Board President
New Works Project
Dr. Kristine Dizon is a Banting Postdoctoral Fellow (2024-2026) at Concordia University–Montréal and a Carlos Miguel Prieto Fellow at OAcademy (2025). She is an acclaimed clarinetist, conductor, and entrepreneur. Kristine has taught and performed worldwide, served on international juries, and released award-winning albums. Holding a PhD in Cultural Studies from Universidade Católica Portuguesa, she is also a Fulbright and FCT Scholar. Visit her website at www.kristinedizon.com.
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