A case that shook the field of music last year, this time, this time, in the form of a demand for defamation and retaliation against the University of Northern Texas, one of its graduate students and 17 musical history teachers , Theory and Ethnomusicology.

This phase of the case continues to highlight the historical lack of diversity and inclusion of the theory of music. It is also about the limits of academic criticism. More to Point: Are you calling a colleague to a racist for the comments based on the race against the law?

"Instead of defending Professor Jackson's academic freedom, the University of Northern Texas and his administrators joined Bruges' hunt," says the demand. Jackson is looking for a jury trial and compensatory and punitive damages for "the full extension authorized by law".

Whiteness in musical theory

things began to be returned more than a year ago - with someone else named racist. At the end of 2019 the Meeting of the Company Theory for Music, Philip Ewell, Associate Music Professor at Hunter College of The City University of New York, delivered a plenary direction called "White Racial Frame of Music Theory" . His message was that musical theory has been and is still overwhelmingly white, that whiteness has shaped discipline and that this should be questioned.

"There can be no doubt that white people hold power in music theory. - The white racial framework of musical theory is booted and institutionalizes that power," Ewell said at that time. .

In an extended example of these dynamics, Ewell criticized the influential theoretical of music music, Heinrich Schenker as "a burning racist and German nationalist" and asked why no one links white supremacist views Documentated Schenker to your focus on music theory.

The "White Racial Frame of P> the Field" seeks to shield Schenker of unwanted criticism, "said Ewell, who is black.

Schenker Defense, and more

Jackson, who founded the Schenkerian Studies Center in North Texas and his Schenkerian Studies Journal, did not agree with Ewell, to say lightly. He also strongly opposed the fact that Ewell did not mention that Schenker was Jewish in Nazi-was Germany and Austria. Schenker's wife died in Theresienstadt, following his own death in 1935 of the natural causes.

In response to Ewell, whose arguments had shaken the theory of the Music, Jackson organized a symposium that will be published in Schenkerian's annual studies. Some of the eventual responses were pro-ewell. More no.

In his own contribution to the Symposium, Jackson hesitated if the "white frame "It could apply to a theorist of Jewish music as Schenker.

Both Schenker and his wife knew "Very well, they were considered" others "by the main Viennese German-speaking society, since their Jewish students would later be in America," Jackson wrote. "Therefore, simply assuming that Jewish Schenkers are" white "and, therefore, participate in the" white privilege "in America, it is probably a naive, not attended and too simplistic Point of view in the best case ".

get more personal, Jackson evoked Ewell's darkness to say that Schenker's "scapegoat guy" "occurs in the much wider context of black attacks in Jews in the US. UU "

Ewell "Only attack Schenker as a pretext to present the main argument of him: that liberalism is a racist conspiracy to deny the rights to 'Color People'" JAC


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