Philip Ewell, a prominent music theory professor at Hunter College, confronts the racialized history of music theory and its impact on scholarship. He discusses the backlash he's faced in academia, revealing the emotional toll and resilience it has demanded. Ewell critiques the lack of diversity in music education and the need for reform, while highlighting the troubling responses to discussions on race in media. The conversation is both a call for inclusivity and a critique of the systemic biases that persist in the field.
A critical self-examination of personal beliefs in music education reveals unconscious alignment with systemic racism and patriarchy.
Philip Ewell's backlash highlights the challenges faced by scholars addressing race, illustrating the political polarization within music theory discourse.
Reforming music education necessitates prioritizing diverse musical traditions and inclusive pedagogy to foster equity and representation.
Deep dives
Confronting Beliefs About Music Education
Examining personal beliefs about music and music education reveals that many may unconsciously align with white supremacy and patriarchy. Individuals often believe that their views are free from such influences, but self-reflection typically uncovers biases tied to systemic structures. This recognition of ingrained biases is crucial, as it compels educators to interrogate their commitment to inclusivity and justice in the field. Such questioning holds the potential to catalyze transformative change within music education.
Backlash Against Music Scholarship
A significant backlash has arisen around music scholarship, particularly aimed at scholars addressing issues of race and systemic bias. Philip Ewell, a prominent figure in music theory, faced unprecedented backlash for his critical work on Heinrich Schenker and the racialized history of music theory. This situation exemplifies the broader anti-intellectual and anti-academic movements sweeping the political landscape, with music theory becoming an unexpected battleground. The hostility toward Ewell has transformed academic discourse into a polarized cultural conflict, intensifying scrutiny on music education's traditional foundations.
The Impact of Hate and Support
Being a target of hate has been a significant part of Ewell's experience, yet he emphasizes that the majority of feedback he receives is positive and supportive. He acknowledges the emotional toll of hostility but reframes the experience as a source of motivation. Hate can often serve as a catalyst for progress, pushing scholars to refine their arguments and bolster their resolve. Ewell's resilience reflects a broader strategy in which challenges are transformed into tools for advocacy and scholarly growth.
The Role of Whiteness in Music Theory
Ewell's critical examination of music theory underscores the necessity of confronting whiteness within the discipline. He highlights how music theory and its foundational figures perpetuate a narrative dominated by racial and cultural biases. The refusal to separate Schenker's problematic views from his analytical contributions signals a disturbing trend toward defending traditional frameworks despite their exclusionary nature. Ewell argues for an integrated approach that dismantles these biases, advocating for a more representative musical canon.
A Vision for Reform in Music Education
Imagining a reformed music education system involves a fundamental shift in curricular and administrative priorities. The focus would extend beyond traditional Western canon and piano proficiency, emphasizing diverse musical traditions and inclusive pedagogy. This vision prioritizes the integration of various cultural musical histories, fostering an environment where all forms of music are revered and supported. Ultimately, such a transformation requires educators to confront their own biases and align their practices with principles of equity, diversity, and representation.
Philip Ewell has, in recent years, become the most controversial music scholar on the planet. After his incisive work on music theory's white racial frame was unfairly attacked by fellow academics, he was suddenly thrust into the national spotlight, as right-wing news outlets targeted him as part of a broader backlash. A discussion about what it means to be caught up in the Culture Wars, racism in music scholarship, and how Dr. Ewell has grappled with it all.
Philip Ewell is professor of music theory at Hunter College of the City University of New York.
