Abstracts
Abstract
The “unmarked whiteness” at the core of most Canadian and US university music programs is an example of racist policy. Anti-racist actions that identify, describe, and dismantle racism can be productively applied to music history courses by adopting strategies outlined in the work of Kyoko Kishimoto. By exploring knowledge production through the historiography of canonic music, challenging Eurocentrism by teaching Western music as “ethnic,” and dismantling the division of white and non-white musics into different disciplines, this article offers an approach to musicultural anti-racism.
Résumé
La « blanchité implicite » qui est au coeur de la plupart des programmes de musique dans les universités du Canada et des États-Unis constitue un exemple de politique raciste. Les actions antiracistes qui identifient, décrivent et démantèlent le racisme peuvent s’appliquer de façon productive aux cours d’histoire de la musique en adoptant les stratégies exposées dans les travaux de Kyoko Kishimoto. En analysant la production de savoir à travers l’historiographie de la musique canonique, en remettant en question l’eurocentrisme en enseignant que la musique occidentale est « ethnique », et en démantelant la division entre musiques blanches et non blanches en différentes disciplines, cet article propose une approche de l’antiracisme multiculturel.
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