Jaime Díaz

White Affectivity, Distraction Tactics, And the Crisis of Thought in the Western Classical European Music Industry

Introduction

White affectivity, distraction tactics, and the crisis of thought in the western classical european music industry. Explore how white affectivity in Western classical music causes epistemic self-harm for minoritarian composers. Discover a new liberatory compositional method based on minoritarian identification for emancipation.

Abstract

In this article I argue that white affective mechanisms within western European classical music (WECM) composition may lead to double-consciousness in the practices of minoritarian composers which ultimately constitutes an act of epistemic self-harm due to the need to assimilate for inclusion in the field. WECM has long been accepted and assumed to be a “universal” art form. This has had negative impacts on minoritarian composers and contributed to their exclusion throughout its history. I offer an investigation of these affective mechanisms in WECM composition and suggest a new compositional method based on minoritarian identification to build a liberatory creative practice free from epistemic self-harm. This method allows for minoritarian composers to think in/through/with their identifications as a form of resistance – rooted in the repair and emancipation of the minoritarian Self. Through this method, I suggest that as creative practitioners we can directly respond to the erosion of democratic values and ever-growing neoliberalism, not only within the WECM field, but more broadly in our local, national, and global communities – helping to reorient how and where we do the making of thought centred on the minoritarian perspective.

Review

The article, "White Affectivity, Distraction Tactics, And the Crisis of Thought in the Western Classical European Music Industry," presents a timely and critically incisive examination of the Western European classical music (WECM) field. The author argues that deeply embedded "white affective mechanisms" within WECM composition enforce a state of "double-consciousness" upon minoritarian composers, leading to "epistemic self-harm" as they are compelled to assimilate for inclusion. This powerful framing directly challenges the prevailing notion of WECM as a "universal" art form, contending instead that this assumption has been a historical driver of marginalization and exclusion. The abstract effectively highlights a significant, unaddressed problem within the industry and promises a profound investigation into its affective underpinnings. A significant strength of this proposed work lies in its ambitious theoretical framework and its unwavering commitment to centering minoritarian experiences. The deployment of concepts like "white affectivity," "double-consciousness," and "epistemic self-harm" provides potent analytical tools for deconstructing the exclusionary practices inherent in WECM. Furthermore, the author's proposal for a new compositional method, predicated on "minoritarian identification" to cultivate a "liberatory creative practice," offers a compelling vision for redressing these historical injustices. This method is not only presented as a path for personal repair and emancipation for the minoritarian Self but also as a direct intervention against broader societal ailments, including the erosion of democratic values and the impact of neoliberalism, thereby greatly expanding the article's intellectual and cultural relevance beyond musicology. While the abstract is highly compelling and outlines a provocative argument, a full paper would benefit from elaborating on several key areas to maximize its impact. A detailed exposition of the "new compositional method" is essential; understanding its practical application, theoretical underpinnings, and concrete examples will be crucial to substantiate the proposed solution. Precise definitions and rigorous theoretical grounding for terms such as "white affectivity," "distraction tactics," and "minoritarian identification" are also vital to strengthen the claims. Lastly, while the connections drawn between WECM and broader democratic and neoliberal concerns are impactful, the article will need to meticulously demonstrate how these linkages are forged and manifested within the specific context of musical practice. Addressing these points will ensure the article provides not only conceptual critique but also robust, actionable, and thoroughly theorized pathways for liberatory practice and thought.

Full Text

Comments

You need to be logged in to post a comment.