Alexander Cowan, a musicologist specializing in the intersection of music and eugenicist thought, explores the unsettling connections between music and the eugenics movement. He discusses how figures like Francis Galton believed musical talent was hereditary, perpetuating racist ideologies. Cowan delves into the historical context of music psychology and critiques the notion of innate musical ability linked to social hierarchies. This thought-provoking conversation urges a reexamination of inclusivity within the musical community, highlighting the dark implications of these ideologies.
The podcast reveals how eugenicist thought has historically linked music to social hierarchies, claiming innate musical talent justifies social stratification.
It highlights the problematic legacy of standardized testing in music education, showcasing how it perpetuates misconceptions about innate versus cultivated abilities.
Deep dives
The Intersection of Music and Eugenics
The podcast explores the relationship between music and eugenicist thought, highlighting how notions of inherent musical talent have influenced harmful social hierarchies. The discussion begins with the foundational work of Francis Galton, who argued for the heritability of genius, especially in music, and used the concept of musical prodigies to justify social stratification. This perspective established a dangerous framework, suggesting that one's social role should reflect their hereditary abilities, with implications extending beyond music to law, politics, and labor. The connection between music and eugenics persists, as contemporary discussions still grapple with the rhetoric that positions musical ability as innate rather than cultivated.
The Role of Music Psychology
Significant attention is given to the work of Seashore, a psychologist who sought to scientifically measure musical ability, further intertwining music with eugenic principles. Seashore developed standardized tests based on sensory perception to assess students' musical skills, reflecting the eugenicists’ desire to categorize and measure individuals' abilities. This method was appealing to eugenicists because it offered a semblance of scientific rigor, allowing them to rationalize educational segregation based on perceived innate talent. The legacy of these early assessments can be seen in contemporary music education and how standardized testing continues to shape perceptions of musical capability.
Eugenics in Education
The podcast emphasizes the influence of eugenics on music education, particularly through historical examples like the Eastman School of Music. Here, a study led by Hazel Stanton sought to validate Seashore's testing methods and eventually served as a model for admissions processes, prioritizing innate musical talent as a criterion for entry. Although the experiment faced criticism and was ultimately abandoned, it exemplified the intertwining of eugenic ideology with educational practices in the early 20th century. This crossover illustrates how eugenicists aimed to create an educational system reflecting their social hierarchies, where only those deemed innately talented would be allowed to pursue music professionally.
Contemporary Implications of Eugenic Thought
In the closing discussions, the podcast reflects on how remnants of eugenic thought continue to influence modern discourse around music and talent. It highlights that standardized testing in music education still carries echoes of historical eugenic principles, perpetuating the belief that musical ability is an innate trait. The host and guest urge listeners to recognize the problematic history and language surrounding music and intelligence, advocating for a more inclusive understanding of musical potential. By unpacking these connections, the conversation encourages a reevaluation of how we perceive and validate musical talent today.
From its beginnings, the eugenics movement has looked to music: for foundational figures like Francis Galton and contemporaries like Charles Murray, the child-prodigy composer or violinist could serve to demonstrate that talent was innate and inherited, and thus could be bred. The horrendously racist implications of such a vision have long been understood, but the relationship between music and eugenicist thought has received scant attention. In this dark but important conversation, musicologist Alexander Cowan reveals the central role of music to eugenicist philosophy, and how myths of musical talent have undergirded myths of racial supremacy.