Critical Music Theory: Yet Another Anti-White Weapon

Recently I came across a video titled “Music Theory is Racist” (which now has been sneakily renamed to “Music Theory and White Supremacy”).

To spare you from watching the video, Adam (whom I’ve been told is of Jewish descent, by the way) summarizes “Music Theory” as “The Harmonic Style of 18th Century European Musicians” in an attempt to claim that music theory institutionalizes White Supremacy by proclaiming European Classical music as superior and denouncing all other styles of music which diverge from its harmonic style. He then goes on to complain about how the theory is based on the works of Beethoven, Mozart and Bach but not any non-white or female musicians. If you haven’t picked it up, this is literally just critical race theory applied to music.

I’m sure most of you are familiar with Critical Race Theory (CRT), but in case you aren’t, all you need to know is that CRT was carved out of Marxist critical theory and postmodern philosophy and has “white privilege” as a main theme, believing that traditional, cultural, social and legal pillars of Western civilization contribute to systemic oppression. It sees whiteness as form of property (which Marxists see as inherently exploitative), and thus seeks to abolish it.

Laughable as it is, CRT is widely taught throughout Western universities, and thus is a powerful anti-White weapon that has contributed a great deal to the destruction of Western culture, history and academia. Now the virus is spreading, with even Critical Mathematics Pedagogy being a thing as the media pushes Math as another outlet of internalized racism.

But is Music Theory really racist? Does its existence invalidate unorthodox or foreign types of music? Not really. The Classical Period in music is a staple of Western culture akin to art movements such as Impressionism or Academism. Non-whites were not a part of those things simply because their presence in Europe was negligible at the time.

The other reason Classical Music and Theory has especially come under fire is the fact that many of its contributors were racists. Heinrich Schenker (one of the most well-known music theorists of the 20th Century), despite being Jewish, was a vehement German nationalist, expressing anti-British, anti-French and anti-Black views on many occasions. Richard Wagner was also a controversial figure, even during his lifetime before Hitler used his work to symbolize German high culture. In 1869 he wrote “Das Judenthum in der Musik” (The Jewishness in Music), which criticizes Jewish composers and their influence in music. Racism is also present among important figures in other art mediums, such as in literature with the notorious H.P. Lovecraft, who hilariously describes Blacks as sub-human beats in the 1912 poem “On the Creation of Niggers.”

The most common response to this is attempting to downplay it with the fact that most people were racist until very recently (which perfectly fits into the Marxist agenda that Whites are still racist). This, of course, achieves nothing if not worsening the situation. Backing down is never effective against progressivism. Instead, we should ask ourselves whether the racist views of these and many more great figures were grounded in reality. Spoiler alert: They were. Besides the glaring collective power of the Jewish minority, the negative effects of racial and ethnic diversity are alarming.

Seeing as Western culture has been noticeably deteriorating for a long time as we become increasingly diverse and inclusive – but especially since the birth of CRT in the 80s – it is clear to me that we would benefit from more racism, not less. The West is becoming less White by the day, and our culture will be replaced alongside us. If you care about that, it’s about time to start being racist again.

Here are some images you should ponder over:

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