The Invisible Hand of the Great White Male Musical and Artistic Canons

In my previous post I discussed how ridiculously easy it would be to avoid the Art of Monstrous Men, and the post before that discusses how to Decolonize the Musical Mind. The past couple of days I’ve come across some interesting pieces about diversity in the arts (or lack thereof). The first was a piece about bringing the art of women, long buried in storage of the Uffizi Galleries in Florence, to light; the second was a piece about how the High Museum in Atlanta tripled its Nonwhite audience in two years by, well, increasing the diversity in its programming, staff, and marketing; and the third is a rebuttal of one of the myths justifying the Great White Canon of Classical Music.

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How Easy is it to Avoid the Art of Monstrous Men?

Actually, it’s ridiculously easy.

I’ll just stick to music, since that’s what I usually focus on in this blog. And let me qualify the “ridiculously easy” by stating that I’m referring to the work of folks that may only be scratching the surface of those that remain unaccused–there may very well (and very likely) that there are many more “Monstrous Men” out there. Granted, we may all have different definitions of what constitutes “Monstrous Men” but expand or contract that definition for yourself at your leisure.

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Decolonizing the Musical Mind

A few weeks ago, I started re-reading Ngũgĩ wa Thiong’o’s “Decolonising the Mind: The Politics of Language in African Literature (1986) and for some reason this time reading it brought me back to the time when I quit playing the cello (right out of music school). A couple weeks ago, I mentioned here on my page, that I was slowly saying farewell to most Western Music (I’ll have to qualify that at another time). I mentioned some of those reasons in my latest blog post a couple months ago, and was in the middle of a couple of posts clarifying some things (one of which is this post).

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The Other Orchestras (part 1): Ethnic Orchestras

There’s such a problem with Eurocentric terminology when discussing analogues to a Western institution found in other cultures. That’s no different than with orchestras. I’ve used the phrase “Ethnic Orchestras” in reference to large ensembles modeled after the European-styled Orchestra (e.g. Traditional Chinese Orchestras), but at the same time, some of these large ensembles are definitely found within European countries (e.g. Mandolin Orchestras).

When I’m referring to large ensembles that have had little connection to the European-styled Orchestra and that are native to countries (e.g. Gamelan) I usually call those “Non-Western Orchestras.”

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Myth of the Monolithic Pop Culture

One of the many ideas that Crisis folks rely on is what we could call a Monolithic Pop Culture trope. The whole idea of Classical Music culture being rooted in the past (and therefore needing to “catch up” to contemporary culture) relies on this myth that culture has “evolved” (nevermind the problematic aspects of a type of Social Darwinism which implied in claim) to the point where Classical Music culture is no longer relevant.

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