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 Parochialism of “Everything Except Rap and Country”

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.

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Myth of the “General Audience,” Classical Music, and Token Activism

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.

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