Pianist Weiwei Zhai has performed across Asia, North America, and Europe, earning acclaim for her “enthusiasm and grace” from the New York Concert Review. A first-prize winner of the Concerto Competition at Manhattan School of Music, she has played at prestigious venues like Carnegie Hall and collaborated with celebrated musicians, including conductors Philippe Entremont, Christian Vásquez, and members of Imani Winds. Born in Chengdu, China, Weiwei graduated from the Central Conservatory of Music in Beijing before earning her Doctor of Musical Arts degree in New York. She currently teaches at Bloomingdale School of Music and Lindeblad School of Music and is a member of the piano faculty at the Manhattan School of Music Summer Program.
The stage lights dimmed as I took my place beside my duo partner, José Maldonado. The first notes of Bach’s Trio Sonata in C Major filled the air, but what came next—a Puerto Rican folk tune followed by a Chinese melody—was not what our audience expected. We had woven together European classics with music from our own cultures, and by the end of the performance, the energy in the room had shifted. Audience members approached us afterward, saying the experience felt like a breath of fresh air. They told us how much they enjoyed the diversity of the music and how exciting it was to travel between two cultures through sound.
This fresh approach feels more urgent than ever. For a long time, classical music concerts have presented Euro-centric programs almost exclusively. According to a 2022 report by the Institute for Composer Diversity at the State University of New York at Fredonia, compositions by women and people of color now make up about 23 percent of pieces performed by orchestras, compared to just 5 percent in 2015. This shift, as noted by The New York Times, is partly a reaction to the #MeToo movement and the death of George Floyd, which pushed arts organizations to deliberately present works by Black composers. That reckoning extended beyond race as institutions began exploring options outside the Western canon for new voices.
Recent progress toward gender equality in classical music is also notable. The New York Philharmonic now allows its female musicians to perform in pants, and Nathalie Stutzmann has become the only female director among the 25 largest orchestras in the United States (Marin Alsop became the first female conductor of a major American orchestra in 2007). The Berlin Philharmonic, one of the world’s great ensembles, hired its first female concertmaster last year. Meanwhile, Wiener Festwochen, a prestigious arts festival in Vienna, launched the “Academy Second Modernism” initiative to showcase works by 50 female and nonbinary composers over the next five years.
José and I, both teachers at the Bloomingdale School of Music, formed our duo to advocate for diversity in classical music. We wanted our audience to feel included, connected, and reflected in the music we played. From children to seniors and from New Yorkers to online listeners worldwide, our mission is to bring a rich variety of global musical traditions to every audience, showing that classical music can be inclusive and relevant to all.
Changing Landscapes in Performance
In 2021, the Metropolitan Opera premiered Terence Blanchard’s Fire Shut Up in My Bones, marking the first time an opera by a Black composer was performed at the Met in its 139-year history. Blanchard’s second opera, Champion, followed in 2023, winning the Grammy Award for Best Opera Recording in 2024 under the baton of Yannick Nézet-Séguin with the Metropolitan Opera Orchestra. Similarly, Jeff Scott’s Passion for Bach and Coltrane, performed by Imani Winds and Harlem Quartet, claimed the Grammy for Best Classical Compendium, while renowned pianist Lang Lang recorded compositions by Tan Dun and other folk-inspired works by Chinese composers.
These works show a rising trend in classical music, with more attention given to compositions by underrepresented artists. The industry is responding to demands for diverse, modern voices, driven not only by an evolving global audience but also by the increased accessibility of music through technology and education.
This shift in focus extends to performers as well. At the 2024 Grammy Awards, Chinese pianist Yuja Wang won Best Classical Instrumental Solo. Korean pianist Yun Chan Lim, who received the gold medal at the Van Cliburn International Piano Competition in 2022, saw his Rachmaninoff Concerto No. 3 performance go viral, amassing over 10 million views on YouTube. Lim’s debut album, Liszt’s Transcendental Études, reached No. 5 on Billboard’s Traditional Classical Albums chart. Sheku Kanneh-Mason, the first Black musician to win the BBC Young Musician Award in 2016, released his album Inspiration, which became the biggest-selling British debut of the year. His sister, Isata Kanneh-Mason, served as artist-in-residence with the Royal Philharmonic Orchestra and debuted at the BBC Proms in 2023.
The growing recognition of artists from diverse backgrounds resonates deeply with my own experience as a performer. On June 9, 2024, I performed Liuyang River, a piece by Chinese composer Jianzhong Wang, at Carnegie Hall in New York City. It was a profoundly personal moment for me, playing music that reflected my heritage. The fusion of Eastern pentatonic melodies with Western classical forms evoked a sense of cultural belonging, blending both my identity and my artistry. Similarly, I have performed Chinese folk-influenced pieces at Trinity Church in New York and faculty concerts for the Bloomingdale School of Music.
My journey with Chinese music began as a child in Chengdu and Beijing. Playing traditional folk tunes on the piano gave me immense pride as I recreated the melodies my grandfather played on the Erhu or the songs my grandmother hummed in the kitchen. Sharing these compositions with international audiences has only deepened my connection to my cultural roots, especially after moving to New York.
Beyond performing Chinese compositions, I’ve also sought to engage with the music of other underrepresented composers. In February 2023, I performed Elfentanz by African American composer Florence Price at the National Opera Center in New York City. Collaboration with musicians from different backgrounds has been crucial in my journey. My guitar duo partner, José Maldonado, and I blend Puerto Rican and Chinese folk traditions with standard classical repertoire, bringing our unique cultural perspectives to the stage. This musical fusion sparks curiosity in audiences, opening up meaningful conversations about heritage and identity.
In 2020, I collaborated with my violist friend Daniel Lamas, a graduate of the Paris Conservatory and Manhattan School of Music, to present Midnight in Paris, a recital highlighting French composers from the 18th to 20th centuries. The concert, part of a fundraising series at Bloomingdale’s School of Music, received critical acclaim from New York Concert Review. More recently, in August 2024, I performed alongside soprano and jazz band leader Alicia Waller, combining classical and jazz styles for community outreach concerts. The varied musical approach drew a wider audience, highlighting the importance of embracing diversity and innovation in music.
Diversity in Music Education
Music education is transforming significantly as it increasingly embraces diverse repertoires that impact students’ learning experiences.
In the summer of 2020, James Gandre, president of the Manhattan School of Music, announced a commitment to include works by African American creators and those from the African diaspora in all performances. This initiative encourages both teachers and students to explore and present compositions from these underrepresented groups.
In 2023, Ebony Music, Inc., a national organization dedicated to promoting Black classical pianists and music by Black composers, made strides in education and advocacy. They introduced the inaugural Ebony Prize, a monetary award presented at the national finals of the Music Teachers National Association (MTNA) piano competitions for the best performance of a work by a Black composer. This prestigious annual competition recognizes excellence at the Junior, Senior, and Young Artists Divisions, with the next Ebony Prize to be awarded in Minneapolis, Minnesota, in 2025. Additionally, Ebony Music, Inc. plans to launch a pedagogical recording project in 2025, featuring piano works by Black composers recorded by Black pianists at Yamaha Studios in New York City.
As an educator in New York City, I actively engage with students from diverse backgrounds, creating an environment where their cultural traditions are celebrated. We honor their heritage by allowing them to share their traditional holidays and music, and I encourage them to explore their roots through their piano studies. I urge my students to learn about their culture, using their musical skills to channel family traditions and take pride in their identities.
In some piano competitions and auditions, there are requirements to perform works by minority composers, which helps raise awareness about diversity in music. Pianist Leah Claiborne has compiled a remarkable collection of piano music by Black composers, catering to various skill levels from beginner to intermediate. This resource is invaluable for piano teachers, providing opportunities for students to engage with a diverse repertoire from the outset of their musical journey.
I introduce my students to compositions by composers of different races and nationalities early in their education, particularly at the late beginner and early intermediate levels. My goal is for them to celebrate their heritage while broadening their horizons and cultivating an appreciation for other cultures. This exploration is essential for personal and artistic growth. As students learn about various styles, they also learn about themselves.
In addition to practical skills, I teach music history, highlighting composers like Joseph Bologne, Chevalier de Saint-Georges, George Walker, Florence Price, Chen Qigang, and Toru Takemitsu, along with their cultural contexts. New York City’s rich multicultural tapestry, from Chinatown to Harlem to Washington Heights, provides a backdrop for tracing the musical traditions of Asian, African American, and Latin American communities. Connecting music to their surroundings ignites students’ curiosity and excitement, enhancing their understanding and appreciation of diverse cultures. Music transcends language barriers, enabling individuals to communicate, connect, and foster friendships across cultural divides.
I also assign repertoires by Academy Award-winning composer Tan Dun and Pulitzer Prize-winning composer Zhou Long, recognizing that classical music encompasses a multitude of races and nationalities. It is vital that these voices are heard. Our audiences—both locals and tourists from Brazil, Italy, Japan, and beyond—experience a cultural journey through music. These performances often spark meaningful conversations during post-concert receptions, highlighting the importance of cultural exchange for musicians and audiences. Many hidden gems from underrepresented composers are waiting to take center stage, and it is our duty to bring them to light.
Challenges and Opportunities
From an arts administration perspective, a study conducted by the University of Southern California highlights a significant lack of diversity among leadership roles in the music industry. Among top executives in 70 major and independent music companies, only 13.9% were from underrepresented racial and ethnic groups, with just 4.2% being Black and another 13.9% women. This indicates that the representation of minorities and women in leadership positions remains low.
In contrast, a report from the League of American Orchestras, based on data from 156 orchestras, shows some signs of progress in the orchestral landscape. The number of Asian and Asian American musicians has steadily increased, now comprising 11% of musicians, up from about 9% a decade ago. Latino representation has also improved, rising to 4.8% from 2.5%. However, the percentage of Black musicians has barely shifted, increasing only slightly from 1.8% to 2.4%. This slow progress underscores the challenges faced in hiring people of color, particularly within orchestral settings. As Jeri Lynne Johnson, an American conductor who founded the Black Pearl Chamber Orchestra, notes in The Strad, “The most effective tool for diversifying the audience is having a diverse group of people on stage.”
There is still a notable gap in featuring diverse composers in concert programs. For example, despite the growing number of piano students in China—estimated at 40 to 50 million—the representation of Asian composers in concert programs remains disproportionately low. Although many Asian pianists excel in performing Western composers, their own composers are rarely featured. This disparity poses a dilemma for pianists who often gravitate toward standard repertoire in a competitive field. However, playing music from their own cultures not only helps them discover new repertoire but also fosters a stronger sense of belonging and artistic ownership.
Organizations like the Sphinx Organization, based in Detroit, Michigan, are working to address these representation challenges. Founded to support young Black and Latino musicians, Sphinx has provided over $1.5 million in artist grants and more than $2.5 million in scholarships since 2016. Their budget has seen a remarkable 145% increase since 2015, emphasizing their commitment to diversity in music.
In Philadelphia, Jeri Lynne Johnson established the Black Pearl Chamber Orchestra, which features graduates from prestigious conservatories and maintains an equitable balance of Black, Asian, White, and Latino musicians. The orchestra has been recognized as a model for 21st-century American ensembles, with concert programming that connects diverse countries and cultures, earning numerous grants for its innovative projects.
Similarly, Liz Player and Charles Dalton founded the Harlem Chamber Players in New York, an ethnically diverse collective dedicated to providing high-caliber, affordable classical chamber music to the Harlem community. This group not only commissions new works annually but also creates opportunities for musicians of color, garnering positive reviews from prominent publications like the New York Times and The Guardian.
These examples illustrate successful efforts to build diverse performing arts organizations. There is a significant audience eager to attend concerts featuring diverse musicians, and several organizations are stepping up to provide financial support for talented minority artists.
Imani Winds, a musical quintet, stands out with a philosophy that emphasizes genuine engagement with communities. Toyin Spellman-Diaz, the quintet’s oboist, explained to The New York Times, “As a golden rule, always try a person’s musical idea before rejecting it; that’s how sincerity is born. And stop programming to draw people in. Program from the heart, and people will follow. Design events that attract the communities you want to attract. Is there easy transportation to the hall? Is there child care? Is there food that everyone can afford? You have to design events as opposed to concerts.” However, most concert venues lack accessibility and affordability, so finding a suitable venue to attract the audience remains challenging.
In addition to live performances, recording plays a crucial role in promoting diversity in music. As Anthony Johnson, the chief executive of Chicago Sinfonietta, pointed out to The Times, “We commission a lot of works, but important in that is recording them… If we don’t capture these things in real time in order to promote them, they will just happen and go away.”
While recordings preserve and share these diverse works, they often come with higher costs than live concerts, highlighting the need for more grants and financial backing to support such projects and ensure they continue to thrive.
A Vision for the Future
Diversity is reshaping the performing arts and educational systems, making classical music more accessible and relevant to a broader audience. This trend has heightened awareness of social justice and cultural recognition. Playing classical music doesn’t mean we must limit ourselves to a Euro-centered repertoire. While this remains the core foundation of classical music, it is essential to incorporate works from various countries and cultural backgrounds as the landscape evolves. Increasingly, Asian, Black, and Latino families are including classical music in their children’s education.
As a concert pianist, exploring and playing more Chinese piano works has helped me learn more about myself. Engaging with compositions by underrepresented groups deepens the personal connections between musicians and their audiences, regardless of the music’s origin. Music has the power to transcend boundaries, creating connections among people from diverse cultural backgrounds through sincere gestures and expressions.