It might be useful for folks to see other #MusicTheory traditions have contemporary performers and ensembles--i.e. living practitioners of the music--in existence even in the US. Here's a thread featuring on large US Arabic Ensembles and Orchestras.
1) These are from one of my many databases of non Euro-ensembles/orchestras - a small subset of the music ecosystem of US Arabic Music - there are literally hundreds, if not thousands of small ensembles and solo performers (I've played with dozens myself).
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2) There's a whole music ecosystem within which these groups exist. In some cases, you can see there are several University based ensembles. In other cases, these are centered around large pop. of Arab-Americans which entails a music ed system.
3) The Arabic #MusicTheory and Arabic #MusicEd is a living tradition & has become part of the US (indeed, the global) music landscape. It's not a dead tradition. Ditto the Arabic Pop. Hence my comment about Western Pop Mus as an alt for curricula...
I could have just as easily have created a thread from a dozen other US based non-Eruopean Orchestra cultures. Alos, I didn't even touch on music of ethnic/religious groups adjacent to Arab music groups (e.g. Turkish, Sephardic, Orthodox) also found in the US.
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Then there's repertoire. Who do you think is composing for these ensembles and performers? Have you heard of any of these composers? Played any of their works?
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Is it even understood that there are living composition traditions with BIPOC composers that have never composed for a European Orchestra or European/Western instruments?
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Do we understand that there is already diversity out there? And that by focusing on *colorizing* white European based ensembles/traditions we're just centering whiteness again while erasing BIPOC?
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So we shouldn't be surprised about Steve Reich being a symptom of an orientalism/exoticism impulse; or racial funding gaps in performing arts orgs; or yt supremacists saying classical music makes you whiter; or by slave orchestras. It's always been.
P.S. I haven't update that Arabic Orchestras/Ensembles list since 2018 so it's a bit out of date. MESTO no longer exists from what I see and the LA Arab Orchestra used to be called the LA Arabic Orchestra. I don't have founding/formation dates or websites for everything...
...and I'm sure I've missed some groups.
Also, this doesn't touch on what's sometimes referred to as the classic "Amarabic" (American-Arabic) era (60s-70s) of big bands like George Abdo and his Flames of Araby Orchestra, Artie Barsamian and his Orchestra, and others.
Arab America published a series called "America's Other Orchestras: Arab American Ensemble Series" a few years ago. Until we can acknowledge multiple ethnic groups as part of American (USian) culture and experience we'll continue to treat their musics...
...perpetually foreign. That trope is essentialist, colonialist, and ultimately white supremacist since it implies the only "real" American (USian) musics are those that "originated" here. There's some Irony given #ClassicalMusic's European origin.
That kind of knowledge can be instrumental for composers, such as in Rhiannon Giddens and Michael Abels's Opera, "Omar," based on the Arabic autobiographical account of the Muslim African slave Omar Ibn Said.
But if our frameworks and tools for understanding musics are based on Western Eurocentric Art and Popular Music genres then we’re simply going to erase a more nuanced understanding of what musics are will replicate a white racial/Western Colonialist view of the world.
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"An organ was installed on a Northwest Stratocruiser in the 1950s through an arrangement with local musician Swanee Swanson. The organists received free flights to New York and other East Coast destinations."
Welsh Harp tablature from the *Robert ap Huw manuscript* (1613). The manuscript is the oldest extant source of primarily Late Medieval eisteddfod repertory that dates to 1340-1500 and was compiled by Robert ap Huw (c.1580-1665).
Short segment on the *Robert ap Huw manuscript* in Rhodri McDonagh's wonderful "Welsh Trad Music | A Beginner's Guide" video (cued up to that segment below). The whole vid is worth a watch and is only 24 minutes.
Bangor University's "Music of the Robert ap Huw Manuscript" page with other resources for Cerdd Dant and other British Isles harp traditions.
One of the things I love about Georgian Harmony is that it's based on what's essentially close to a functionally 7TET/EDO collection of pitches. Many global harmonic systems are built on different tuning systems than those in what's typically referred to as Western harmony.
The above image from Malkhaz Erkvanidze's "On Georgian Scale System" pg. 181
Latest update to the <Solo Keyboard Repertoire - Southeast Asian Composers> resource. Added about another 50 or so pieces by (primarily) Vietnamese/Vietnamese diasporan composers.
I think it's easy to underestimate the size and diversity of SE Asia (hence why I added a new second paragraph to the doc). For example, Indonesia alone has a population of nearly 275 million: the 4th most populous country in the World. About 231 million Indonesians are Muslim.
And just hearing all those different composers that've created wonderfully expressive uses of the piano for native tunes, or how they've incorporated that into their compositional style or, in some cases, incorporated the piano into SEA folk and art musics, is just so refreshing!
Finally getting a chance to read this and the intro piece "American Music and Racial Fantasy, Past and Present" is so excellent & lays out the backdrop for what I call the <Perpetually Foreign Music> idea & how Raceface Minstrelsy shapes current Anglo/American popular musics.
This, especially: "Dismantling the Black-white binary requires us to locate our discussion of music and race in the period prior to 1900" (pg. 573) though I'd argue we should extend this into discussion of race/music today & how the Black-white binaries create other...
...exclusions. Especially as this carries over into music education & how this "In every part of the globe that was touched by minstrelsy, fantasies served to advance white male status" plays into ehtno-nationalist views of what counts as "American Music."