I will be moderating this crucial conversation as part of ASCO’s annual conference in beautiful San Francisco with a stellar group of panelists: Kedrick Armstrong (Music Director, Oakland Symphony); Nora Brady (Chief Marketing & Communications Officer, Los Angeles Philharmonic); Dr. Liane Curtis (President, Women’s Philharmonic Advocacy); and John Wineglass (Composer, JW Productions, LLC). Panel description:

Much of the Diversity, Equity, and Inclusion (DEI) work in classical music involves making people from traditionally marginalized communities feel welcomed and recognized. In what way can programming choices play a role in these efforts? Globally and across our region, canonic composers (primarily deceased white European cis-males) continue to dominate concerts, perpetuating the historical exclusion of music by women and racial and ethnic minorities. How can we best address this exclusionary practice, and what resources are available for organizations seeking to do so? What would an effective marketing strategy entail to promote a more inclusive repertoire?

This session will delve into the concept of expanding the canon, and even consider if the canon can be abandoned altogether. Ultimately, what impact – if any- does more inclusive repertoire have on our broader goal of a diverse and sustainable audience.