In the wake of the global mass protests against systemic racism and police brutality in 2020, US institutions have undergone what has been described as a “racial reckoning”—to decidedly mixed results. Music academia has not been excepted from these conversations, which were already underway in part because of an earlier disciplinary flashpoint: the controversy around Philip Ewell's 2019 Society for Music Theory keynote address, much discussed since, even in such venues as the New York Times.2 Roughly concurrently, Loren Kajikawa has published important arguments about the persistence and structures of white supremacy in collegiate music education generally, showing how Ewell's critiques are not limited to the academic discipline of music theory but are rather more foundational.3 In fact, Black music scholars have been making many of the same points for years: Ewell and Kajikawa's essays join longstanding conversations, research, and activism by scholars such as Dwight Andrews,...
Race, Gender, and Jazz School: Chord-Scale Theory as White Masculine Technology1
DAN DIPIERO is a musician and visiting assistant professor of musicology at Ithaca College. His work has appeared in Critical Studies in Improvisation/Études critiques en improvisation, Rancière and Music (Edinburgh University Press), the Journal of Popular Music Studies, Sounding Out!, the Los Angeles Review of Books, the Cleveland Review of Books, and more. His first book, Contingent Encounters: Improvisation in Music and Everyday Life, is forthcoming with University of Michigan Press.
Dan DiPiero; Race, Gender, and Jazz School: Chord-Scale Theory as White Masculine Technology. Jazz and Culture 1 June 2023; 6 (1): 52–77. doi: https://doi.org/10.5406/25784773.6.1.03
Download citation file: