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    Prof Suggests Calling Famous Composers by Their Last Names is ‘White Supremacy’

    Prof Suggests Calling Famous Composers by Their Last Names is ‘White Supremacy’

    “These canonized demigods became so ensconced in elite musical society’s collective consciousness that only one word was needed to evoke their awesome specter”

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    Does the left ever get tired of finding racism everywhere and in everything? Most people find it exhausting.

    The College Fix reports:

    Prof: Referring to famous composers by just their last names is ‘white supremacy’

    A professor of music theory says that using only the last names of famous composers like Beethoven and Bach is a form of “white supremacy.”

    Writing in Slate, the University of Massachusetts-Amherst’s Christopher White wants everyone to “fullname” these musical masters so as to avoid the “habitual, two-tiered” method: Guys like Mozart get called just that, while women and minority composers are referred to by their first and last names.

    “These canonized demigods became so ensconced in elite musical society’s collective consciousness that only one word was needed to evoke their awesome specter,” White says.

    White points to a review of a performance by the Louisville Orchestra — it lauded the presentation of a Beethoven composition, but also a piece dedicated to Breonna Taylor written by Davóne Tines and Igee Dieudonné (emphasis added).

    The assistant professor of music theory notes there has been an “explosive focus” over the last few months on white supremacy and “male-centrism” within music research. In his field, “working groups” have been established to “analyze and advocate” for marginalized composers, and they’ve created a bevy of “alternative” resources for music educators.

    If a teacher has been making use of, say, Beethoven to explain a particular concept, he could also utilize the “Cotten picking” style of composer Elizabeth Cotten, for example.

    From the article:

    [I]nitiatives toward diversity and inclusion are placing new names on concert programs, syllabi, and research papers, names that might not have been there 10 or 20 years ago—or even last year. But these names are appearing next to those that have been drilled deep into our brains by the forces of the inherited canon. This collision between increasing diversity and the mononyms of music history has created a hierarchical system that, whether or not you find it useful, can now only be seen as outdated and harmful.

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    DSHornet | October 31, 2020 at 10:38 am

    Christopher White?

    Who?
    .


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