Ellen Shaw

music theorist

About

Following Philip Ewell’s 2019 article “Music Theory and the White Racial Frame,” many music theory educators and institutions have moved towards a more diverse music theory curriculum, one that decenters whiteness and maleness and involves the teaching of various analytical methodologies that embrace an expansive amount of musical traditions. Ewell states in that same article, however, that “‘Diversity’ is often far removed from the problems of the white racial frame—in fact, diversity obfuscates the issues, in either a subconscious or, frankly, a conscious fashion, such that the white frame survives and thrives” (Ewell 2019, 5.2). Ewell continues, expressing that while diversity initiatives are a relatively easy feat, it is “harder to acknowledge that there exists a white racial frame in music theory that has shaped everything that we do, that benefits whites and whiteness at the expense of nonwhites and nonwhiteness, and that the only way to improve our situation with respect to race is to have frank conversations about race, racism, whiteness, white privilege, and white supremacy” (Ewell 2019, 6.2). 

In an effort to contribute to ongoing conversations about antiracism in the music theory classroom, I carried out an IRB-approved survey of Black students and interviewed one to hear about their multitude of lived experiences had in the music theory classroom. I focused on this particular demographic to avoid discussing a conglomerate of “marginalized” students. I outline five primary themes highlighted by participants: the various backgrounds of the respondents (Example 1), the importance of mentorship (Example 2), respondents’ complex and often negative relationships with peers (Example 3), identity and self-worth (Example 4), and belonging (Example 5). 



   

© 2026 Ellen Shaw
Last updated: June 2026