While developments are being made, the classical music industry still holds a tradition of operation and support that is predominantly white. Historically, classical music was approached as a means to status, hierarchy, and social class; the industry, as a result, has been slow to acknowledge how these forces have shaped the racial landscape of classical music. Ayden Adler used the PRJC grant to conduct archival research in Boston to use in their book titled Orchestrating Whiteness: Arthur Fiedler, Serge Koussevitzky, and the Boston Symphony Orchestra. This research will enhance Adler’s understanding of the history of the Boston Symphony Orchestra and focus on diversity, equity, and inclusion. With this knowledge, Adler can contextualize the thinking of the Boston Symphony Orchestra and how it has supported systemic racial favortism in orchestral settings up and through the 20^th century.