5/20/2020 Beethoven Was an Above Average Composer—Let’s Leave It at That – Music Theory's White Racial Frame

Beethoven Was an Above

Average Composer—Let’s Leave
It at That
By Philip Ewell <
https://musictheoryswhiteracialframe.wordpress.com/author/philipaewell/>

April 24, 2020 <

https://musictheoryswhiteracialframe.wordpress.com/2020/04/24/beethoven-was-
an-above-average-composer-lets-leave-it-at-that/>

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“Beethoven’s Ninth Symphony is a masterwork, born of the genius of a titanic composer.” We in classical music, and especially in music theory, have become so
inured to descriptions like these that we no longer question what’s really being said. But behind such language lie two aspects of Beethoven that remain
underexplored: race and gender. Not so much Beethoven’s race and gender, but the race of music theory’s white racial frame, which works in concert with
patriarchal structures to advantage whiteness and maleness while disadvantaging POC and nonmales. In “How the Myth of the Artistic Genius Excuses the
Abuse of Women < https://www.nytimes.com/2017/11/10/arts/sexual-harassment-art-hollywood.html> ,” Amanda Hess discusses the harm done in excusing
the misconduct of artistic “geniuses,” who are usually men harming women. She argues forcefully for not separating the art from the artist, and urges the
examination of how someone’s abuse of power outside of their creative output can a ect that creative output. The racist misconduct of these geniuses is also
generally excused, under the same notion that geniuses deserve some kind of dispensation for their conduct because of their genius. And with remarkable
consistency, these geniuses have been white males in American society. This harm was on vivid display in the “Levinite” defense of James Levine a er allegations of
years of his misconduct came to light in 2017. In “When #TimesUp for Musical Gods: The James Levine Scandal <
https://hcommons.org/deposits/item/hc:20841/> ,” Linda Shaver-Gleason debunks the myth of genius with respect to Levine and reminds us of the general
dangers of “genius.”

“Master,” and its derivatives (masterwork, masterpiece, masterful), carries both racist (master/slave) and sexist (master/mistress) connotations. In music theory
“masterwork” is generally applied to compositions by white males. But Beethoven’s Ninth Symphony is no more a masterwork than Esperanza Spalding’s 12 Little
Spells. To state that Beethoven was any more than, say, above average as a composer is to state that you know all music written on planet earth 200 years ago when
Beethoven was active as a composer, which no one does. Beethoven occupies the place he does because he has been propped up by whiteness and maleness for two
hundred years, and we have been told by whiteness and maleness that his greatness has nothing to do with whiteness and maleness, in race-neutral and gender-
neutral fashion. Thus music theory’s white-male frame obfuscates race and gender, one of its main goals.

The white racial frame has created many euphemisms for “white” and “whiteness.” This tracks the general avoidance of racial terminology that race scholars o en
cite. In addition to “master” and its derivatives, here are some other common euphemisms for white and whiteness in music theory’s white racial frame: authentic,
canonic, civilized, classic(s), conventional, core (“core” requirement), European, function (“functional” tonality), fundamental, genius, German (“German” language
requirement), great (“great” works), maestro, opus (magnum “opus”), piano (“piano” pro ciency, skills), seminal, sophisticated, titan(ic), towering, traditional, and
western. Even terms such as “the long nineteenth century” and “ n de siècle” can be considered euphemisms for whiteness and white framing for their close
associations with dates and events (and languages) signi cant to Europe and Europeanism. Such euphemisms are intended to sublimate whiteness into less
objectionable forms, thus mitigating the e ect of whiteness on music theory and hiding its existence. In fact, the mapping of time itself is white racially framed in
the Gregorian calendar, civil calendar to the world. Since they could observe, humans have mapped the linear and cyclic nature of time, in the stars, sun, moon,
waters, and migrations of animals and insects. Steph Yin explains this mapping in “What Lunar New Year Reveals about the World’s Calendars <
https://www.nytimes.com/2019/02/05/science/chinese-new-year-lunar-calendar.html> .” The fact that the world has settled on the Gregorian, a er Pope
Gregory XIII, represents white racial framing writ large. Sure, it’s useful to have everyone on the same calendar, but no one can deny the racial element behind how
the world now understands the linear and cyclic nature of time.

More than any other country the U.S. is responsible for the emergence of music theory as a eld separate from its close relative, historical musicology (more
common, in most of Europe for instance, music analysis and theory is a subset of musicology). Part of this separation was due to di erences between historical and
analytical perspectives, while another part was due to funding that was available to scienti c explorations in the U.S. at the time. Still another part of the drive to

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scienti cize music analysis in the U.S. in the twentieth century represents an e ort to shore up whiteness in music theory’s white frame since this scienti zation
insulates whiteness from potential criticism. Music theory highlights the “transcendent immutability” of its theories. If these theories are timeless, otherworldly, it
is easier to suggest that they have nothing to do with race and gender. Thus in the mid-twentieth century musicologists who were interested in analysis in the U.S.
began to attach the word “theory” to their discipline: American music theory was born.

Sara Ahmed, in Living a Feminist Life, questions the use of the word “theory” generally, citing her own beginning as a grad student in “critical theory.” She rightly notes
how, in calling something a theory that can reasonably be argued is not, authors wish to insulate themselves from potential criticism and narrow the understanding
of a subject to the dictates of a select few. In music theory’s case, and in many others in the U.S., this select few has consisted only of white males. Ahmed says:

Some work becomes theory because it refers to other work that is known as theory. A citational chain is created around theory: you become a theorist by citing
other theorists that cite other theorists. Some of this work did interest me; but I kept nding that I wanted to challenge the selection of materials as well as
how they were read. (8)

This “citational chain,” theorists citing other theorists, is essential to white-male-framed music theoretical research. Breaking this chain—moving beyond the
barriers of what our white-male frame has de ned to be music theory—is di cult, and generally discouraged. My engagement with race and feminist scholarship is
a perfect example of breaking the citational chain of music theory. I apply the work of race and feminist scholars in order to better understand race and gender in
music theory. Many senior scholars in music theory have been skeptical of my work and, in certain cases, even hostile, calling it a “manifesto.” This hostility is rooted
in the white-male frame’s persistent belief in race and gender neutrality; once such neutrality is proven to be fallacious the white-male frame will lose power and
prestige, which it wants to hold onto.

Like Ahmed, I wish to “challenge the selection of materials” in music theory’s white-male frame—I will o er some alternatives in “New Music Theory,” my next blog
post. I also wish to break the citational chain in which whiteness begets whiteness and maleness begets maleness. And with respect to Beethoven, the problem is not
with him or his Ninth Symphony. As a cellist < http://philipewell.com/performances/> I quite enjoy playing his music: symphonies, sonatas, quartets, trios. That
will never change. What is problematic is what has happened with Beethoven and his music since his death in 1827. He (along with countless other white males) has
been propped up by the white-male frame, both consciously and subconsciously, with descriptors such as genius, master, and masterwork. And, like Ahmed says,
there is a citational chain in so citing this “master” that we end up where we are, such that there are those who would actually take issue with me saying the Ninth
Symphony is no more a masterwork that Spalding’s 12 Little Spells simply because we are told by whiteness and maleness that this couldn’t be the case. Beethoven was
undoubtedly an above-average composer and he deserves our attention. But to say he was anything more is to dismiss 99.9% of the world’s music written 200+ years
ago, which would be unscholarly, and academically irresponsible.

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By Philip Ewell
Hello. My name in Phil Ewell and this is my blog. I am an activist for racial, gender, and social justice in the field of music theory. Everyone in my field knows that
it is unremittingly white and male, but once I began to understand how whiteness and maleness work in tandem to suppress nonwhiteness and nonmaleness, I
began to do the academic work in order to expose this unjust side of music theory so that we might deconstruct our white-male structures. Thus I now consider
myself an activist in the field, one who advocates for change by exposing how whiteness and maleness suppress marginalized voices, and by pressing for the
necessary changes so that all voices can be heard in music theory.

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