Menu

Pledge

As part of the new music community in the United States, we recognize the ways in which White supremacy and anti-blackness foster grave inequities in our field. We recognize our collective responsibility to change that. We acknowledge the historical exclusion that people of color have faced in the new music ecosystem, the systems of oppression that have perpetuated this exclusion, and, in spite of all this, the profound impact that artists of color have had on new music. To rectify this legacy of White supremacy and racism, the resulting inequities and injustices, and to actively participate in its replacement with a more diverse and equitable future, we join New Music Equity Action in making the following pledges:

Values

We immediately commit ourselves to the work of dismantling the inequitable status quo in new music, and will specifically make doing so part of our mission statement, artist statement, and/or organizational goals.

Solidarity

We pledge to engage in active support of disenfranchised communities and individuals when they are faced with structural exclusion or targeted retribution by institutions or individuals within our field.

Transparency

We commit ourselves to embodying a new culture of transparency in new music by publicly and consistently providing relevant demographic information regarding programming, commissioning, collaborating artists, personnel, et cetera.

Learning

We recognize that the perpetuation of exclusion is in part due to institutionally-reinforced ignorance. We commit to actively broadening our awareness of artists and repertoire from excluded communities, and make an ongoing commitment to the development and improvement of the skills we need to effectively engage in antiracism work.

Resources

We commit to disrupting cycles of privilege by evaluating the resources (financial and otherwise) that we have access to and developing strategies to share, leverage, or redirect resources to benefit historically disinvested communities.

Continuing Practice

We commit to treating these pledges as a first step, and will continue to participate in the ongoing fight against racism and inequity in the field of new music by remaining engaged with our peers as part of a continuing collaborative coalition for justice -- reaching out for help when we need it and providing support to others when we can.

As part of this coalition effort to dismantle inequity in the field of new music, we join with our peers in making a commitment to develop and make public by the end of the 2020–21 season a comprehensive five-year cultural equity plan for our programming, commissioning, and artistic collaborations to fully reflect the diversity of the United States or its most diverse communities.


Read the list of signatories below

Terms to define and style guide

We acknowledge that the language we use matters a great deal: words are how we describe ourselves and construct the world around us. We also understand words mean different things in different contexts and evolve in continuously-changing ways. We know our terminology might function differently in other countries or cultural contexts.

We use the following terms in this how-to guide in a best attempt to reflect our current moment in time, within the context of the communities we expect to be involved in this pledge. We encourage suggestions and recommendations to help keep our terminology current & inclusive.

Cultural equity - “Embodies the values, policies, and practices that ensure that all people are represented in the development of arts policy; the support of artists; the nurturing of accessible, thriving venues for expression; and the fair distribution of programmatic, financial, and informational resources.” - Americans for the Arts, Statement on Cultural Equity

Disinvested/Disinvestment - Literally refers to reducing or withdrawing an investment: often used to describe a neighborhood or a community of people that face inequitable distributions of resources due to the withdrawal or elimination of publicelimination public & private funds. (Contrast to terms such as “communities in need”, which suggest failure or deficits on the part of the community itself)

ALAANA - An acronym for African, Latinx, Asian, Arab, or Native American.

People of Color - First popularized in the 1960’s by Black Civil Rights activists, this term is generally used to refer to anyone who does not identify as White.

BIPOC - This term is an acronym for “Black, Indigenous, and People of Color”. This term originated more recently and names Black and Indigenous people in addition to People of Color, specifically, in an attempt to highlight the particularly concentrated forms of discrimination Black and Indigenous people face.

Latinx - Refers to people of Latin American heritage, and is a gender-neutral or nonbinary alternative to Latino or Latina.

The above terms are all used in this document at various points. For more on the history of these terms, listen to Code Switch: What it means to be a person of color or read “People of Color are protesting…” by Efren Perez in the Washington Post

In general in this document, we:

  • Tend to use LGBTQ+ as a term to include a wide variety of queer communities, but support whatever language people use to describe themselves (to read more about this topic—including a long list of terminology and definitions in The Acronym and Beyond by Learning for Justice.)
  • We acknowledge that there is controversy over whether to use identity-first or person-first language to describe disability. We offer our support for whichever language someone chooses to use to describe disability as it pertains to them. With this in mind, we tend to use identity-first language when talking broadly about disability, as a reflection of the preference of our current disabled community members. I am Disabled: On Identity-First Versus People-First Language by Cara Leibowitz offers an explanation on the subject of person first vs. identity first language.
  • Capitalize both “Black” and “White”. Read "The Case for Capitalizing the B in Black" by Kwame Anthony Appiah in The Athletic, and "Why White Should Be Capitalized" by Nell Irvin Painter in the Washington Post

Signatories

  • alejandro t. acierto, clarinet (Ensemble Dal Niente & thingNY)
  • Elizabeth Adams, composer
  • Iddo Aharony, Composer
  • Paul An, Voice
  • Megan Arns, Percussion, University of Missouri
  • Amanda DeBoer Bartlett, Soprano
  • Gordon Beeferman, composer/pianist
  • Rachel Beetz, flute
  • Gelsey Bell, composer, vocalist
  • Gina Biver, Composer/Director of Fuse Ensemble
  • Shelby Blezinger-McCay, Percussion
  • David Bloom, conductor
  • Melisa Bonetti, Mezzo-Soprano
  • Tyler J. Borden, Cello
  • Zack Borowiec, Oboe
  • Beth Bradfish, Composer/Sound Artist
  • George Brandon, Composer
  • Maeve Brophy
  • Ammie Brod, Violist, Ensemble Dal Niente
  • Dr. Miles Brown, String Bass and Jazz, University of Delaware
  • Meagan Brus, Soprano
  • Sebastian Buhts, Percussion, Lindenwood University
  • Kayleigh Butcher, Quince Ensemble
  • Aaron Michael Butler, Percussion
  • Connor Butler, Percussionist
  • Aubrey E Byerly
  • Patrick Castillo, Composer
  • Eric B Cha-Beach, So Percussion
  • Alex Chadwell, composer
  • Will Champion, Percussion
  • Claire Chase, Flutist/Professor, Harvard University
  • Victoria Cheah, Composer
  • Phyllis Chen, Pianist/composer
  • Christina Cheon, Marimba
  • Vicky Chow, Pianist, Bang on a Can All-Stars
  • Lucy Chugh, Percussion, Interlochen Arts Academy
  • Brooks Clarke, Composer, Guitarist
  • Matthew Coley, percussion, Heartland Marimba
  • Britton-René Collins, Percussion
  • John Colpitts, Composer/Drummer
  • Joseph Connor, Saxophone
  • Chrostian E. Feliciano Cordero, Music Composer
  • David Cossin, Percussionist
  • Katie Cox, Flute, Redtail Artist Residencies, Wild Shore New Music
  • Sam Crawford, Performing Arts Librarian, California Institute of the Arts (CalArts)
  • Richard Crowder, Percussion
  • Kyra Davies, violin
  • Geoffrey S Deibel, Assistant Professor of Saxophone, Florida State University
  • Alexa Dexa, Electroacoustic toy opera composer-performer
  • Nicholas Deyoe, composer, conductor, guitarist, wasteLAnd
  • Dustin Donahue, percussion
  • Erin Donovan, Percussion, composition
  • Kyle Dortch, Music Educator, Alamance Burlington Schools
  • Arlene Dunn, Listener, fan, advocate
  • Larry Dunn, Superfan and supporter
  • Anna Elder, vocalist
  • Mary Emmons, Percussion
  • Jaime Esposito, Percussion
  • Matt Evans, percussionist/composer, Tigue, Bearthoven
  • Melissa Ewing, Euphonium
  • Teagan Faran, Violin
  • Maria Finkelmeier, Percussion, MF Dynamics
  • Maggie Finnegan, Soprano
  • Abby Fisher, Percussion
  • Brendan Fitzgerald, Director, Wooden Cities
  • Kyle Flens, Percussion
  • David Friend, Piano
  • Stefan Freund, Cellist, Alarm Will Sound
  • Andrew Fuchs, tenor
  • Alison Gangler, Oboe
  • Maritza Garibay, Music Educator, Violinist, Sound Artist
  • Anthony Gatto
  • Jeffrey Gavett, Vocalist, Ekmeles, loadbang
  • puck glass, percussion
  • Isabel Lepanto Gleicher, Flute
  • Michael Goodman, Composer
  • Sharon Gordon, Contralto and Pianist
  • Jacob Gotlib, Mizzou New Music Initiative
  • Brian Graiser, Percussion, Sam Houston State University
  • Matthew Gray, Producer/Director/Writer
  • Adam Groh, percussion
  • Tomás Gueglio, composer
  • Stephen Hall
  • Joseph Hallman, Composer
  • Ziang Han, Composer
  • Jason Hardink, Piano
  • Sharon Harms, Soprano
  • James Hatch, Marimba
  • Ethan Hayden
  • Rose Hegele
  • Juan Herrera, Percussion, Liminal Space Ensemble
  • Arlen Hlusko, Cellist
  • Colin Holter
  • Chelsea Hollow, Soprano, Concert Rebels
  • Christopher Howard, Percussion/electronics
  • Jon F. Howe, French Horn & Composer
  • Deidre Huckabay, Collaborative artist
  • Curtis K. Hughes, Composer
  • Joshua Jeremiah, Vocalist
  • Ryan Jesperson, Composer
  • Bill Kalinkos, clarinet - Alarm Will Sound, Splinter Reeds, Deviant Septet
  • Emily Kalish, Violin
  • Howie Kenty, Composer
  • Jennifer Kessler, Executive Director, International Contemporary Ensemble
  • Patti Kilroy, Violinist and Assistant Professor, California State University, Los Angeles
  • Ha-Yang Kim, composer & cellist
  • Ravi Kittappa, composer
  • Sean Kleve, Percussion
  • Tyler Kline, composer; host of Modern Notebook (Classical WSMR)
  • Megan Kyle, oboe
  • Alexis C. Lamb, Composer
  • Brooke Larimer, mezzo-soprano & co-host for Indie Opera Podcast
  • Karl Larson, Piano
  • Pascal Le Boeuf, composer, pianist, producer
  • Laura Lentz, fivebyfive (flutist, Artistic Director)
  • Austin Lemmons, Percussion
  • Michael Lewanski, Conductor, Ensemble Dal Niente; Associate Professor/Conductor, DePaul University School of Music
  • Julie Licata, percussion, SUNY Oneonta
  • Lynam, Music Educator
  • Emily Manzo, pianist/composer
  • Adam Marks, Piano
  • Brian McCorkle
  • Michael McCurdy, percussion
  • Greer McGettrick, composer
  • Todd Mehan, Percussion, Baylor University
  • André Mestre, Composer, Universidad Austral de Chile
  • Beth Meyers, Viola, local 802/Princeton Symphony
  • Kyle Miller, Composer, Guitarist
  • Ted Moore, Composer
  • Amanda Lee Morrill, Percussion
  • Nicholas F Moseley, Composer/Pianist, Jacksonville University
  • Ryan Muncy, saxophone
  • Paul Murphy, Trumpeter and Teaching Artist
  • Joshua Musikantow, Composer
  • Paul Novak, Composer, University of Chicago
  • Greg Nahabedian, Composer
  • Annick Odom
  • Manuel J. Perez III, Performer-Composer, Wesleyan University
  • Sawyer Perry, Bachelors of Music Education Candidate
  • Noah Petti, Percussion
  • Paul Pinto
  • Hajnal Pivnick, Tenth Intervention
  • Reed Puleo, Percussion
  • Marco Ramaglia, Piano
  • Vicki Ray, Piano, California Institute of the Arts
  • Felix Miguel Reyes, Percussion
  • Kendall Rhymer, Percussion
  • Austin T Richey, Percussionist
  • Johnathan Rickard, Percussionist/Future Music Educator
  • Michael Rogers, Percussionist
  • William Roper, Composer
  • Amanda Ross, Trumpet
  • Christopher Rountree, Artistic Director and Conductor, Wild Up
  • Joshua Nathan Rubin
  • Dave Ruder
  • Jamie V. Ryan, Percussion, Eastern Illinois University
  • Kendra Ellen Sachs, Clarinet
  • Eleonor Sandresky, composer and pianist
  • Nick Schleyer, Trumpet
  • Daniel Schreiner, Piano
  • Megan Schubert
  • Jeremy Shatan, AnEarful
  • Conner Leigh Shaw, composer and guitarist
  • Yegor Shevtsov, Piano, Arctic Philharmonic
  • Ashlene Silva, Composer
  • Emily Singleton, composer and violist, National Arts Diversity Integration Association
  • John Smigielski, Percussion
  • Gabriella Smith, composer
  • Elijah Daniel Smith, Composer
  • Bill Solomon, Percussion
  • Noel Streacker, Percussion
  • Benjamin Stevenson, Composer/Oboist, Peabody Conservatory
  • Kathleen Supové, Piano
  • Steven Swartz, DOTDOTDOTMUSIC
  • Tihda Sychaleurn Vongkoth, Percussion
  • Tina Tallon, Composer
  • Malcolm Taylor, Percussionist, Matchstick Percussion
  • Alice Teyssier, Vocalist and Flutist, International Contemporary Ensemble
  • Matthew J. Tobin
  • Jennifer Torrence
  • Jason Treuting, percussionist/composer, So Percussion
  • Colin Tucker, Musician, Null Point
  • richard valitutto, piano, Cornell University
  • Kirsten Volness, composer/performer, Reed College
  • Dorian Wallace, Composer/Tenth Intervention
  • Clara Warnaar, Percussion/Composer
  • Alyssa Weinberg, Composer
  • Katie Weissman, Cello
  • LJ White, composer
  • Bonnie Whiting percussion
  • Eric Whitmer, Percussionist
  • Tracy Wiggins, Percussion
  • Cameron Wilson, Drumset/composer
  • Claudia Woodman, Keys and vocals
  • Amy Wurtz, Pianist, Composer
  • L.M. Villarreal, Composer
  • Will Yager, double bass
  • Jeffrey Young, violinist and composer
  • Nina Young, Composer
  • Katie Young, composer/improviser
  • Paul Zacarias, Percussion, The University of Tennessee at Martin
  • Alarm Will Sound
  • acmusic.org
  • Bearthoven
  • Bent Duo
  • Blue Unity Music/Blue Unity Press
  • Clocks in Motion Percussion
  • Concert Rebels
  • Counter)induction
  • DOTDOTDOTMUSIC
  • Decoda
  • Ekmeles
  • Ensemble Dal Niente
  • ensemble vim
  • Grand Band
  • Hear Here Productions
  • Heartland Marimba
  • Hotel Elefant
  • Hub New Music
  • Infrasonic Press
  • International Contemporary Ensemble
  • JACK Quartet
  • Kansas City Latin Jazz Orchestra
  • Less Than 10 Music
  • Liminal Space Ensemble
  • loadbang
  • Matchstick Percussion
  • Mid America Freedom Band
  • Mivos Quartet
  • Mocrep
  • New Music Organizing Caucus
  • Null Point
  • Oktaven Audio
  • Omaha Under the Radar
  • Parlour Tapes+
  • Permutations
  • Quince Ensemble
  • Red Shoe Company
  • Redtail Artist Residencies
  • Sandbox Percussion
  • S.E.M. Ensemble
  • Shepherdess
  • So Percussion
  • Spectrum Ensemble
  • Strange Trace
  • the [Switch~ Ensemble]
  • Talea Ensemble
  • Tenth Intervention
  • thingNY
  • Third Angle New Music
  • Third Coast Percussion
  • Verdant Vibes
  • wasteLAnd
  • Wild Shore New Music
  • Wild Up
  • Wooden Cities
  • Young Women Composers