 When associations lack full rights to exclude or exit, they will inevitably lack full rights over their organizational autonomy. For many years, orchestras have been required by convention to have candidates audition behind a screen to ensure anonymity. The result has been that orchestras have hired far more musicians from traditionally under-represented groups than they did previously. In the eyes of defenders of an all-male preserve like the Vienna Philharmonic (which delayed admitting women as full members until 1997, far later than any other leading orchestra), this changes the character of the enterprise, and, some would say, costs it the vital comradery and cohesion necessary for great orchestral work. Unsurprisingly, leading orchestras have found that wonderful work can be produced by a diverse company of musicians. What matters is the performers’ musical ability and their ability to work well together. Their gender and ethnicity are, or should be, irrelevant to those things.