When I read about Slave Orchestras I have that scene in "A Beautiful Mind" where Nash/Crowe, during his insight moment about Governing Dynamics, says to Hansen/Lucas "Incomplete. Incomplete."

If we can't own the FULL history of #ClassicalMusic, then it's systemically incomplete.

That <<logic of exclusion of colored bodies>> comes to play when thinking about the evolution #ClassicalMusic in these formerly colonized countries and how the composers, repertoire, & ensembles that emerged in them are distinctly absent from our whitewashed histories ...

... and how the contribution of scholarship from formerly colonized countries is also absent—the very scholarship that acknowledges the colonial histories and #ClassicalMusic’s Slave Orchestras/Choirs/Bands and hybridized performance practices.

Not to mention local, hybridized compositional practice, and #MusicTheory which often overlaps native and indigenous musicking practices that get erased from the histories of a primarily White and Eurological WAM focused #ClassicalMusic curriculum. Thus insuring the continued ...

... exclusion of colored bodies and the practices and musicking associated with those populations.

This also give assimilative power to White Eurological WAM centric practices. What gets recognized is who writes a symphony for an Eurological orchestra, not who writes a ...

... symphony for a Kazakhstan National Instruments Orchestra; who gets funding for an opera for an Eurological opera company, not who gets funding for a Mughal Opera; or who can get press for an Eurological string quartet, not who gets press for a Huqin Quartet.

The <<logic of exclusion of colored bodies>> in #ClassicalMusic permeates all levels of the Eurological Music Ecosystem.