FEATURED H&HS ARTICLE

Thank you for checking out our resource page of performing arts medicine clinics, wellness programs, and practitioners. Practitioners listed here include traditional and alternative medical and health professionals, as well as musicians who assist in recovery. This resource list is ongoing and will be updated often.

A Satirical Overture and a witty prelude to our very serious guide on surviving retaliation after filing a grievance.

Musicians live inside their bodies and their art. Every phrase is shaped through breathing, muscle memory, and emotional expression. Yet when injury, chronic pain, or psychological stress interrupts that delicate balance, traditional medical care often falls short of addressing the whole musician. This is where integrative and alternative medicine steps in.

In this piece, Steve Vettese addresses a concerning behavior involving Alex Klein, former principal oboist of the Chicago Symphony and Calgary Philharmonic, who sought and announced an autism diagnosis only after being terminated from his Calgary post.

In his reply, oboist Alex Klein detailed accusations against two of his former students. He claimed that #1 had fabricated an affair and shared altered screenshots online to make it look legitimate, and that #2, his former student who he hired on as a teaching assistant, tried to report him on #1 student’s behalf. In the same email, Alex made several misogynistic and defamatory remarks about oboist Katherine Needleman. He made crude insinuations about how she was obtained her

Hazing in music schools is more than a rite. It is an emblem of a social pedagogy that trains silence, rewards submission, and cements closed networks that control opportunity. Those same networks can conceal sexual misconduct and exploitation and can punish anyone who tries to dismantle them.

We were adopted and became American Citizens at two weeks old, flown to North America, and raised in North Dakota. El Salvador’s civil war lasted from 1979 to 1992 and claimed more than 75,000 lives. The United States poured billions into weapons, military aid, and helped the Salvadoran government carry out repression, slaughter, and violence on its own citizens.

It often begins with an email or phone call that never comes. A young musician, trained for years, waits to hear from the contractor who controls access to the pit, the recording studio, or the symphony hall. They may never hear back. Not because of their playing, but because of something else entirely: they are not on the right list, not in the right circle, or no longer in the right graces.

Gergiev and Netrebko are not being “canceled” for their Russian identity. They are being criticized for actively and repeatedly promoting an authoritarian state’s violence, lies, and territorial aggression. In the arts, platforming is power. A podium is not neutral ground—it is a place of influence, a place where narratives are validated, history is shaped, and moral legitimacy is either reinforced or revoked.

Whether it's the high cost of education, performance-related expenses, or the instability of gig work, classical musicians often face unique obstacles. If you’re in a dire situation and need immediate help with money, food, housing, or other basic needs, here are tailored resources and strategies to support you during tough times.

Whether you're receiving threatening messages, being doxxed, impersonated, or targeted by smear campaigns, it's important to know your rights, what actions you can take, and how to protect yourself. Whether you're a student, freelancer, full-time performer, arts administrator, music professor, or a parent of a music student....knowing your rights and taking proactive steps can help you stay safe and hold abusers accountable.

Why did ballet’s sexual exploitation become spectacle in the 19th century while orchestras cloaked theirs in velvet hush? Because the world tolerates violence against women when it comes with music and pearls. Because we only call it a scandal when it breaks the illusion. Ballet was a performance of femininity. So when the abuse happened, it was expected. Or worse, admired. Orchestras, on the other hand, carried the banner of refinement. So when the abuse happened, it was unt

Most women don’t wake up one day and decide to defend abusers. It’s subtler than that. It starts with what we’re taught to value: Be nice. Be likable. Don’t cause trouble. Don't be that woman. Be grateful for opportunities. Protect your mentor’s reputation. Play the game. And it starts early—sometimes in music school, sometimes in church, sometimes around the dinner table. We learn, little by little, that proximity to male power offers protection.

I’m in the trenches of social media this week engaging directly with influential figures in horn playing—on Facebook timelines and comment threads—where critical issues of discrimination, competition bias, and gender equity are often dismissed or distorted.

Many orchestras have spent the last two decades trying to reverse the stereotype of elitism—to open their doors wider, to be more reflective of the communities they serve. NEA funding has often helped make that possible. When that funding disappears, it doesn't just take away money—it chips away at progress, access, equity. It forces orchestras into a narrower definition of success, one driven by revenue rather than mission.

It's essential to know your legal rights, your protections, and how to take action when lines are crossed, whether you're a freelance artist, orchestral musician, conservatory student, or professor.

What began as a murmur of discontent towards Vice President J.D. Vance, swiftly crescendoed into a full-throated wall of Booing.

Questions arise about the motivations behind Kalmar's continued association with the Oregon Symphony: Is it rooted in loyalty or fear?

Is this the legacy that the Houston Symphony wishes to uphold? This letter is not just my voice—it echoes the disappointment...

Carney’s misconduct wasn’t an open secret—it was a documented fact. Artistic legacy means nothing if built on the backs of silenced victims.

While musicians frequently unionize, orchestra and arts administrators rarely do, though they should. It's inevitable. Here's why...

El Sistema’s entanglement with political agendas has only deepened the erosion of its founding values. What began as a movement of hope...

"This isn’t just about one individual—it’s about dismantling a culture that allows abuse to persist in classical music institutions."

They’re the sneaky little thoughts that pop up when you flub an entrance and think, "Should I abandon music and open a taco truck instead?"

The Courage Over Silence Defense Fund supports classical musicians—survivors, whistleblowers, & advocates facing harassment.

Wagner’s ghost tweeted late last night. “One day, someone will appreciate me…maybe after they finish their avocado toast."

Financial literacy is important to classical musicians. We're here to make it as fun as a flash mob playing Beethoven in a food court!

A testimony raises critical issues on accountability, safety, and the culture of orchestras, particularly during international tours.

Holding musicians' unions accountable for failing victims of sexual harassment or misconduct involves a combination of internal reforms...

“Can I ask you a favor?” they begin. Before you know it, you’ve agreed to babysit their child while they attend a “very important” concert.

Let’s explore the terrain of conductor tantrums—where the line between artistic passion and outright abuse is as thin as a violin string.