Anna Bull is Lecturer in Education and Social Justice at the University of York. A former professional pianist and cellist, her research interests include class and gender inequalities in classical music education and staff sexual misconduct in higher education. Her monograph Class, Control, and Classical Music (2019) was joint winner of the 2020 British Sociological Association Philip Abrams Award. Anna is also a co-founder and director of The 1752 Group, a research and campaigning organisation working to address staff sexual misconduct in higher education. She has worked with music education charity Sound Connections on youth voice in classical music education, publishing a toolkit for teachers in 2022.

Christina Scharff is Reader in Gender, Media, and Culture at King's College London. She is author and co-editor of several books, including Gender, Subjectivity, and Cultural Work: The Classical Music Profession (2018). Dr. Scharff's research on the classical music profession,

funded by the ESRC and British Academy, has contributed to our understanding of inequalities in the cultural and creative industries, the subjective experiences of precarious work, and the psychic life of neoliberalism. Dr. Scharff's other area of expertise is in engagements with feminism, building on her first monograph Repudiating Feminism: Young Women in a Neoliberal World (2012).

Laudan Nooshin is Professor of Music at City, University London, having previously taught at Brunel University and Goldsmiths University of London, where she gained her PhD in Ethnomusicology in 1996. Laudan's research interests include creative processes in Iranian music, music and youth culture in Iran, music and gender, urban music studies, and music in Iranian cinema. She is a co-founder and currently co-Chair of the Equality, Diversity and Inclusion in Music Studies Network and she is also a Vice-President of the Royal Musical Association in which role she leads the RMA EDI Working Group.

• Introduction


• Anna Bull and Christina Scharff


• PART I THE MAKING OF CLASSICAL MUSICIANS


• 1: Class and Gender Inequalities in the Recruitment of Classical Musicians: Reflections on the Case of Italian Music Conservatoires


• Clementina Casula


• 2: The Role of Music Conservatoires in the Making of Classical Music Careers


• Rainer Prokop and Rosa Reitsamer


• 3: Social Inclusion in Contemporary British Conservatoires: Alumni Perspectives


• Jennie Joy Porton


• 4: Inside Looking In: Strategies to Counteract Misconduct in Artistic Teaching within Higher Music Education


• David-Emil Wickström


• PART II PROBLEMATIZING INSTITUTIONAL CHANGE


• 5: (Un)settling Institutional Hegemony: Challenges of Diversity Strategies in the "Western" Classical Music Sector


• Kristina Kolbe


• 6: "To Share Music with Children": The LA Phil and Neoliberal Philanthropy in Inglewood


• Mina Yang


• 7: A Critical Perspective on Diversity and Inclusion in US Classical Music Discourse


• Marianna Ritchey


• 8: Staging a Loose Canon: Scripture, Tradition, and Embedded Exclusion in Opera Production


• Caitlin Vincent


• 9: Disability Representation in Opera


• Charlotte Armstrong


• PART III MARGINALIZED VOICES


• 10: Gender and Class: An Account of a Female Percussionist in the Classical Music Industry


• Beth Higham-Edwards


• 11: Making Space for Disability and Music to Interact: An Interview with Composer Oliver Vibrans


• Oliver Vibrans


• 12: Black on the Podium: An Interview with Conductor Brandon Keith Brown


• Brandon Keith Brown


• 13: Creolization, Mixing, and Plurality: An Interview with Composer Hannah Kendall


• Hannah Kendall


• PART IV RACIAL INEQUALITIES


• 14: The New "Yellow Peril" in "Western" European Symphony Orchestras


• Maiko Kawabata


• 15: Irreconcilable Senses of Belonging: Transnational Japanese Artists in the Quest for Authenticity in the World of Classical Music


• Beata M. Kowalczyk


• 16: [Re- ]training Classical Musicians Toward Polymusicality and Hybridization: An Interview with Jon Silpayamanant


• Jon Silpayamanant


• 17: Inclusion and Diversity in the Early Music Scene in the US: A Conversation with Patricia Ann Neely


• Patricia Ann Neely


• 18: On Leaving Classical Music: An Interview with Anthony Gray


• Anthony Gray


• PART V ACTIVISM STARTING WITH THE SELF


• 19: (Dis)orient Yourself!: Disrupting White Ontologies in Classical Music


• Eleanor Ryan


• 20: Everyday Bridges: A View from the Field


• Cayenna Ponchione-Bailey


• 21: Illuminating Women's Music: Exploring the Canonic Ethos behind the Illuminate Women's Music Concert Series


• Angela Elizabeth Slater


• 22: Changing Classical Music from the Inside: An Interview with Chi- chi Nwanoku


• Chi-chi Nwanoku


• PART VI ACTIVISM: BUILDING NETWORKS FOR CHANGE


• 23: (Un)Silencing Blacktivism in Opera: An Interview with Quodesia Johnson about the Letter to the Opera Field from Black Administrators


• Antonio C. Cuyler


• 24: Reflecting on the Work of Gender Relations in New Music: Institutional Critique and Activist Strategies


• Brandon Farnsworth and Rosanna Lovell


• 25: Addressing Inequalities in the Music Industry before, during, and after COVID- 19: The Campaigning Work of the UK's Independent Society of Musicians


• Deborah Annetts, Vick Bain, Chris Collins, Vinota Karunasaagarar, and Dr. Kathryn Williams


• 26: "A Community of 30,000 Musicians behind You": An Interview with John Shortell from the UK Musicians' Union


• John Shortell


• Afterword


• Gillian Moore


• Discussion Questions for Teachers, Students, Reading Groups, and Industry Leaders


• References


• Index