How White Supremacist Ideology Made Its Way Into Music Theory (w/ Philip Ewell)

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Philip Ewell is a professor of music theory and the author of the new book On Music Theory, and Making Music More Welcoming for Everyone (University of Michigan Press). Ewell is one of the most "controversial" music theorists in the country, having sparked a major controversy in his field by criticizing the "white racial frame" that dominates in music theory. Ewell argued that much of mainstream music theory has been build around unstated assumptions about which kinds of music are sophisticated/interesting/worthy of academic study. Today he joins to explain how the idea of white supremacy translated into normative conceptions about music, why it's a mistake to think he's trying to "cancel Bach," and how music theory can be made, in the words of his title, more welcoming for everyone, meaning that it will break free of its narrow focus on a tiny group of European composers.

A great YouTube video by Adam Neely featuring Ewell, discussing the themes of this conversation, is here. A comprehensive Current Affairs article on the controversy around race and music theory is here. Nathan's article on Charles Murray, including Murray's theories about music, is here.

The main problem I have noticed as music theory faces its racial past is in how we confront what we see in the mirror as we look at ourselves. Understanding the exclusionist nature of the field is not difficult, and it is also easy to add to the music theory mix a few composers of color and think that this represents a solution to our racial dilemma. However, as Baldwin says in the epigraph to this chapter, all we ever see in that mirror is lies, whether we acknowledge that or not. The lie we are told by music theory, the lie that awaits in the mirror to be seen by the field if it is strong enough to glance, is that the dark secrets of our past are exceptional to our field, and that, by and large, our history has been one of social justice and decency. Of course, this is largely untrue of American music theory, since this is largely untrue of the United States as a country. — Philip Ewell, On Music Theory