We’re often taught to think of jazz’s history as a cavalcade of great men and their bands, but from its beginnings the music was often in the hands of women. Listen to some of the greatest.

The We Have Voice Collective, a new group of female and non-binary musicians in jazz and experimental music, plans to release a Code of Conduct on Tuesday that aims to build upon the conversations sparked by jazz’s own #MeToo movement, clearly articulating what a more equitable workplace might look like and setting expectations for change. “The idea is to propose solutions, and also open the conversation to go further,” the tenor saxophonist María Grand, a member of the collective, said. “How do we change this culture? And not just in the dynamic of victims denouncing perpetrators, because that puts the victims at a lot of risk. What we’re trying to do is change the cultural mind-set so that people know what to do when they suspect or see abuse.”

Possibly for the first time, festival presenters could no longer get away with booking one or two female musicians next to a heap of men. “The awareness of it not being equitable for men and women in jazz has really come to a bit of a head,” said Terri Lyne Carrington, 52, an esteemed drummer who has long spoken out about sexism in the music industry. “As far as it resulting in more female instrumentalists becoming recognized — whether it’s albums or festivals or gigs — that’s steadily getting better.”