Philip Ewell – författare

Since its inception in the mid-twentieth century, American music theory has been framed and taught almost exclusively by white men. As a result, whiteness and maleness are woven into the fabric of the field, and BIPOC music theorists face enormous hurdles due to their racial identities. In On Music Theory, Philip Ewell brings together autobiography, music theory and history, and theory and history of race in the United States to offer a black perspective on the state of music theory and to confront the field’s white supremacist roots. Over the course of the book, Ewell undertakes a textbook analysis to unpack the mythologies of whiteness and western-ness with respect to music theory, and gives, for the first time, his perspective on the controversy surrounding the publication of volume 12 of the Journal of Schenkerian Studies. He speaks directly about the antiblackness of music theory and the antisemitism of classical music writ large and concludes by offering suggestions about how we move forward. Taking an explicitly antiracist approach to music theory, with this book Ewell begins to create a space in which those who have been marginalized in music theory can thrive.

Since its inception in the mid-twentieth century, American music theory has been framed and taught almost exclusively by white men. As a result, whiteness and maleness are woven into the fabric of the field, and BIPOC music theorists face enormous hurdles due to their racial identities. In On Music Theory, Philip Ewell brings together autobiography, music theory and history, and theory and history of race in the United States to offer a black perspective on the state of music theory and to confront the field’s white supremacist roots. Over the course of the book, Ewell undertakes a textbook analysis to unpack the mythologies of whiteness and western-ness with respect to music theory, and gives, for the first time, his perspective on the controversy surrounding the publication of volume 12 of the Journal of Schenkerian Studies. He speaks directly about the antiblackness of music theory and the antisemitism of classical music writ large and concludes by offering suggestions about how we move forward. Taking an explicitly antiracist approach to music theory, with this book Ewell begins to create a space in which those who have been marginalized in music theory can thrive.

American Antiblackness: Examining the Fields of Contemporary Racism details how, from its founding, antiblackness has been axiomatic for the United States. The goal of antiblackness is the delegitimization and dehumanization of actual blackness, from its oral and written resistance narratives to its outstanding works of literature and science, and from its hard-won political achievements to its strivings for greater freedom and social justice. This centuries-long process of delegitimization has racially segregated lives to a much larger extent than is generally acknowledged. This book provides a compelling window into how antiblackness is embedded, reproduced, and challenged in specific U.S. organizations and institutions—including educational systems, sports leagues, STEM fields, and healthcare institutions. It foregrounds how many generations of Black activists and scholars have aggressively countered these racially discriminatory traditions.Through a notable mix of established and rising scholars across numerous disciplines, American Antiblackness unpacks how antiblackness has been analyzed in many areas of research. This book presents an intersectional approach to understanding common debates and threads in how these various fields have examined antiblackness, and it will be of critical importance to social justice activists and scholars across many disciplines, including African American studies, the social sciences, the physical sciences, the humanities, public policy programs, and art and literature studies.

American Antiblackness: Examining the Fields of Contemporary Racism details how, from its founding, antiblackness has been axiomatic for the United States. The goal of antiblackness is the delegitimization and dehumanization of actual blackness, from its oral and written resistance narratives to its outstanding works of literature and science, and from its hard-won political achievements to its strivings for greater freedom and social justice. This centuries-long process of delegitimization has racially segregated lives to a much larger extent than is generally acknowledged. This book provides a compelling window into how antiblackness is embedded, reproduced, and challenged in specific U.S. organizations and institutions—including educational systems, sports leagues, STEM fields, and healthcare institutions. It foregrounds how many generations of Black activists and scholars have aggressively countered these racially discriminatory traditions.Through a notable mix of established and rising scholars across numerous disciplines, American Antiblackness unpacks how antiblackness has been analyzed in many areas of research. This book presents an intersectional approach to understanding common debates and threads in how these various fields have examined antiblackness, and it will be of critical importance to social justice activists and scholars across many disciplines, including African American studies, the social sciences, the physical sciences, the humanities, public policy programs, and art and literature studies.

A rich collection of the best offerings from the 2006 and 2008 National Symposiums on Multicultural Music, Kaleidoscope of Cultures is full of resources, references, lesson plans, and ethnic music. In addition to lively speeches, engaging workshops (including making ethnic instruments), and reviews of vocal and instrumental multicultural literature, research papers address timely topics. With video clips from the conference performances and presentations available on the MENC Web site, you can see authentic demonstrations of the music and share them with your students.