Intersectionality, a term first coined by legal scholar Kimberlé Crenshaw, refers to the way multiple aspects of identity—such as race, gender, socioeconomic status, disability, and neurodivergence—intersect to create unique experiences of privilege or marginalization. Within classical music, these overlapping identities often compound the barriers that individuals face in accessing, participating in, and advancing within the field.

For instance, while gender discrimination in classical music might be well documented, those reports may not take into account that the challenges faced by a black female musician may differ significantly from those of a white female musician, due to the additional layer of racial bias. Likewise, a working-class, neurodivergent musician may experience obstacles that are distinct from those faced by a wealthier neurodivergent counterpart. Any study or initiative that addresses a single factor of a person’s identity cannot adequately trace the full scope of their experience, as it risks overlooking the compounded effects of multiple forms of discrimination.

The discussion of intersectionality in this panel illuminated how these factors coalesce, shaping not only professional opportunities but also the ways in which musicians might personally navigate their careers, artistic identities, and relationships within the industry.

Structural Barriers and the Legacy of Exclusivity

Classical music has long been an art form steeped in exclusivity, historically dominated by white, male, and economically privileged individuals. Despite progress in some areas, the field continues to present significant barriers to those who do not fit the traditional mold.

One of the most persistent challenges is access to high-quality music education. Private schools, with their well-funded orchestras, instrumental programs, and dedicated music staff, provide significantly more opportunities for young musicians than state schools, where resources for music education are often minimal or entirely absent. The consequence of this disparity is that many talented individuals from working-class backgrounds are effectively barred from pursuing careers in classical music before they even begin.

Moreover, access to certain instruments remains highly unequal. The organ, for example, is an instrument primarily found in private schools, churches, and cathedrals, making it largely inaccessible to students who do not come from privileged educational or religious backgrounds. Similarly, percussion instruments, which require space and financial investment, pose significant challenges for musicians who cannot afford to purchase or store them.

These structural inequities are not incidental but are embedded within the very framework of the classical music industry. Without intentional intervention—such as scholarships, targeted outreach, and community-driven educational initiatives—the field will continue to exclude those who do not come from wealthier, predominantly white backgrounds.

Representation and the Psychological Impact of Exclusion

Beyond financial and structural barriers, there is a profound psychological impact on musicians from underrepresented backgrounds when they do not see themselves reflected in the industry. Representation plays a crucial role in shaping aspirations, and the absence of diverse role models can discourage individuals from believing they belong in classical music spaces.

Beibei Wang spoke about how seeing Evelyn Glennie perform in her childhood was a transformative experience, demonstrating that women could succeed in the percussion world—a field traditionally dominated by men. Similarly, young girls in cathedral choirs have historically lacked female role models in professional singing roles, reinforcing the notion that such spaces are not meant for them.

The lack of representation extends beyond performers to composers and conductors. The classical canon remains overwhelmingly dominated by white, male composers, and despite growing efforts to diversify programming, many institutions still treat the inclusion of women and composers of color as a performative gesture rather than a meaningful shift in artistic priorities. This selective approach—where diversity initiatives are often confined to special events or themed concerts—reinforces the idea that music by marginalized composers exists outside the “core” repertoire rather than as an integral part of classical music’s evolving narrative.

The Burden of Advocacy: Why Marginalized Musicians Shouldn’t Bear the Full Responsibility

A recurring theme in the discussion was the disproportionate burden placed on musicians from marginalized backgrounds to advocate for change. Too often, those who experience discrimination are expected to both articulate and solve the problems they face, rather than institutions taking proactive steps to address systemic inequities.

Roger Wilson noted that discussions around diversity, equity, and inclusion are frequently led by those most affected, rather than by those in positions of institutional power. This dynamic places an unfair emotional and professional strain on marginalized musicians, who must constantly navigate not only their artistic careers but also the additional labor of educating colleagues and challenging entrenched biases.

Instead of relying on individuals from underrepresented backgrounds to spearhead diversity initiatives, the industry as a whole—including orchestras, conservatoires, and funding bodies—must take collective responsibility. This means embedding equity into institutional policies, ensuring long-term commitments to inclusion rather than short-term, tokenistic efforts.

The Path Forward: Moving from Conversation to Action

All panelists emphasized that while discussions on intersectionality are important, they must ultimately lead to concrete action. Several key areas were identified as necessary steps for meaningful progress:

• Expanding Music Education Access – Providing free or low-cost instrumental instruction in state schools, ensuring that financial barriers do not prevent students from pursuing classical music.
• Challenging Repertoire Norms – Programming music by composers from diverse backgrounds not as an occasional novelty but as a fundamental part of concert seasons.
• Addressing Bias in Hiring and Admissions – Recognizing and dismantling unconscious biases in conservatoire admissions, orchestra auditions, and leadership appointments.
• Rethinking Concert Culture – Making venues more welcoming and inclusive to a broader demographic, both in terms of audience engagement and performer support.
• Institutional Accountability – Ensuring that diversity efforts are sustained and embedded into the long-term mission of musical organizations, rather than treated as temporary initiatives.

What our conversation ultimately underscored is that intersectionality must not be seen as an abstract academic concept but as a lived reality that demands systemic change. It is only by acknowledging and addressing the overlapping barriers that musicians face can classical music truly evolve into an art form that is as inclusive as it aspires to be.

More resources:

Unseen, Unheard: a BliM and Attitude is Everything report on Black disabled experience in the UK’s music industry: Unseen. Unheard. – Attitude is Everything

Being Black in the UK Music Industry: a BliM report: https://blim.org.uk/report/