Soprano Measha Brueggergosman is an activist and educator for social justice

Duke Ellington once said, “All arrangements of historic American Negro music have been made by conservatory-trained musicians who inevitably handle it with a European technique. It’s time a big piece of music was written from the inside.” That piece of music was ‘Black, Brown and Beige.’ Find out more in the 'Rhapsody in Black' podcast.

Meet Vernon Neal, the host of the podcast ‘Rhapsody in Black,’ where we turn up the voices of Black artists in the world of classical music.

Michelle Cann is a trailblazing African American concert pianist and teacher who is inspiring the next generation of musicians at the Manhattan School of Music and the Curtis Institute. Find out more in the ‘Rhapsody in Black’ podcast.

Trumpeter Wynton Marsalis is internationally known for his outstanding career in jazz. Many don’t know that he has also found success in classical music. Find out more in the latest episode of the ‘Rhapsody in Black’ podcast.

At 19, Sheku Kanneh-Mason became the first Black musician to win BBC Young Musician of the Year. He continues to focus on what is most important to him: the music, the cello and music education. Find out more in the ‘Rhapsody in Black’ podcast.

The award-winning string duo Black Violin has been mixing classical and hip-hop for over 20 years. The group’s goal is to make the violin and viola sound naturally and unabashedly Black. Find out more in the 'Rhapsody in Black' podcast.

Pianist, composer and innovator Duke Ellington is famous today for his jazz and swing music. However, he had a few other visions kicking around in his toolbox, including some memorable suites such as ‘The Queen’s Suite.’ Find out more in the ‘Rhapsody in Black’ podcast.

Sly5thAve is a multifaceted musician from Texas whose arrangements fuse his education in jazz saxophone, his classical arranging skills and his Nigerian roots to create a whole new musical experience. Find out more in the 'Rhapsody in Black' podcast.

From the first performance of ‘Porgy and Bess,’ George Gershwin stipulated the opera had to feature an all-Black cast, not white performers in blackface. This benefitted Black opera singers, but their fear was being typecast. Find out more in the ‘Rhapsody in Black’ podcast.

When William Dawson was 12, he ran away from home to study music at the Tuskeegee Institute. In 1930, he returned to his roots as director of the Tuskeegee School of Music, a post he held for 25 years. Find out more in the ‘Rhapsody in Black’ podcast.