Diversity in Classical Music has been a hot topic lately, especially given the recent announcements of upcoming seasons of organizations and the pushback many are getting recently. With the introduction of the Women Composer Database and the Composer Diversity Project, therea a push for aggregating disparate lists of composers to decenter the White Male Canon by highlighting all the Women and PoC (People of Color) composers that have long been existing in the tradition but have been systemically excluded from it except in the most tokenistic of ways.
When I blogged some time ago about music literacy, I mentioned the tired trope “I like to everything except Rap and Country,” which seems to be a response given when someone wants to show a cosmopolitan or open musical taste. Plenty of pixels have been typed about the class and race issues associated with the phrase and I won’t rehash them here as I think that only tells a part of the story that the phrase frames.
One of the most enduring myths, and one that complements and amplifies the Monolithic Pop Culture trope discussed in a previous post is the Myth of the General Audience. Like the Monolithic Pop Culture, the General Audience requires an assumption of homogeneity to a population that simply doesn’t exist. By maintaining the homogeneity of the General Audience the Monolithic Pop Culture can be treated as a singular and undifferentiated mass while ignoring the actual differences between different audiences and the populations from where these audiences come.