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Interview answers for an Arabic Music thesis project by Ribal El Kallab So a few days ago I started a thread on twitter about Clas*ical Music and Colonialism. I’ve never done twitter thread before–never really considered using the social media platform as a way to convey more in-depth ideas. After having spent some time this past year following a few twitter users pretty faithfully and seeing how they’ve used threads I decided I wanted to try it out. The thread has gotten mostly positive responses and shares on various social media. > Thread: Clas*ical Music, the Perpetual Foreigner Trope, and > Colonialism > Ive been thinking how we discuss Clas*ical Music. Ive been in lively > & robust discussions about Diversity in CM only to be derailed by Continue reading “Clas*ical Music, the Perpetual Foreigner Trope, and Colonialism” → Diversity in Clas*ical Music has been a hot topic lately, especially given the recent announcements of upcoming seasons of organizations therea a push for aggregating disparate lists of composers to decenter the White Male Canon by highlighting all the Women and PoC (People of Color) composers that have long been existing in the tradition but have been systemically excluded from it except in the most tokenistic Continue reading “Diversity in Clas*ical Music vs Diversity of Clas*ical Music” → So there’s been a lot of chatter about diversity (or lack thereof) in Clas*ical Music and Orchestras the past few weeks. Just some examples: Holly Mulcahy’s piece about diversifying orchestra audition excerpts (in a little more formal venue) of the mas*ive database of Women Composers Continue reading “American Orchestras that already regularly play music by POC” →. THE INVISIBLE HAND OF THE GREAT WHITE MALE MUSICAL AND ARTISTIC CANONS. In my previous post I discussed how ridicu*ously easy it would be to avoid the Art of Monstrous Men about bringing the art of women, long buried in storage of the Uffizi Galleries in Florence, to light; the second was a piece about how the