Classical Music CRT Comes to the College Music Departments

Classical Music CRT Comes For Mozart

Racially obsessed Arizona State professor has a radical axe as her instrument.

In a lengthy attack on Brahms Beethoven and Stravinsky by Dr. Joyce McCall, we discover that “wokeness” has arrived at the music department of a major college music department.

A professorial devotee of critical race theory (CRT) as it pertains to the teaching of music in higher education is doubling down on her highly personal struggle against the systemic oppressiveness of Beethoven and Mozart.

One of the telling signs of racism in college music departments is expecting students to know how to read sheet music, the professor explained, highlighting how classical music CRT aims to destroy foundational principles. “Notes aren’t racist. A [quaver], a [semibreve], they aren’t racist, but it’s how we use those things,” McCall asserted. “We weaponize Western notation to keep some people out, and to welcome others in. Because if you can’t read notation, you can’t get into the music schools.”

Wolfgang Amadeus Mozart is out

I wonder just how one progresses in a music department if one cannot read notation. I am thankful that I was given the opportunity to enjoy music of all varieties and was given the chance to learn to play various instruments. My life is fuller for it. But Critical Race Theory must destroy all aspects of our culture. Art will be the next to go. Count on it. Back to the story:

Arizona State University sparked controversy in July 2021 by hiring Dr. Joyce McCall to bring her particularly discordant campaign of “racial justice” to its campus. One year later, McCall gave an expansive interview to British national radio station Classic FM, and the quotes revealed her brand of classical music CRT. As exotic as she may sound, McCall’s words highlighted the crucial factor at the core of the progressive assault on education. CRT is designed to transform a culture on a full-spectrum level. Nothing that occurs in the realm of human activity is to be excluded. Even the roses must be trampled.

That this credentialed music authority figure at one of the largest state universities in America asked the following may reveal the utter poverty of knowledge on our nation’s campuses today:

“We can keep teaching Brahms and Beethoven and Stravinsky and, you know, a whole lot but we have to be critical of that music and ask, ‘Well, why do we put it on this pedestal?’ That’s something we should be asking about regardless of the genre of music.”

The intrinsic desire to elevate greatness – to nurture, savor, and extol it – is one of the hallmarks of any advanced civilization. The answer to McCall’s query is simple: We put high artistic achievement on a pedestal because it is good.

For the societal levelers of cultural Marxism, the explanation can never suffice. The brilliance of others is not a gift for the world to share. It is a provocation and a threat. Rather than praise a Thomas Edison for inventing the light bulb, they would choose to remain in the dark.

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