Hills are alive with the sound of white supremacy

classical-music

The story of the present times is the never-ending race to out-idiot each other on the way to the bottom:

The University of Oxford is considering scrapping sheet music for being ‘too colonial’ after staff raised concerns about the ‘complicity in white supremacy’ in music curriculums.

Professors are set to reform their music courses to move away from the classic repertoire, which includes the likes of Beethoven and Mozart, in the wake of the Black Lives Matter movement.

University staff have argued that the current curriculum focuses on ‘white European music from the slave period’, according to The Telegraph.

Documents seen by the publication indicate proposed reforms to target undergraduate courses.

It claimed that teaching musical notation had ‘not shaken off its connection to its colonial past’ and would be ‘a slap in the face’ to some students.

And it added that musical skills should no longer be compulsory because the current repertoire’s focus on ‘white European music’ causes ‘students of colour great distress’.

This is some serious Year Zero stuff, yesterday in the jungles of Pol Pot’s Cambodia, today at the world’s premier institution of higher learning. The long march through the instructions has been a Marxist success story well beyond the wildest dreams of Gramsci and the Frankfurt School, to the point now where those who specifically tasked with preserving and cultivating culture are actively seeking to eradicate it.

Where does one even start to address the “issues” raised by these tenured and highly cultivated cretins? “The slave period” covers pretty much the entire human history until the 19th century (and the present, sadly, in too many parts of the world); the “colonial past” extends it into the second half of the 20th century, and “white supremacy”, well, all the way to today. In this easy and convenient way, anything that has been done, achieved and created by the Western civilisation, from Athens to Apple, is made automatically problematic – it is all, after all, irrevocably tainted with the sins of whiteness and racism – and therefore subject to cancellation. Coincidentally, since whiteness and racism are in an exclusive relationship – if you are white you are racist, if you are not white you cannot be racist – only the Western Civilisation and its works are to be condemned and banished; you won’t hear anyone arguing for the elimination of algebra, or Arabic numerals, because of Islam’s long history of slavery.

The bottom line is that if you don’t like “white European music” perhaps you shouldn’t be studying music in Europe. In fact, if you are a student (whether “of colour” or not) who experiences “great distress” having to study such music, you should reconsider the whole idea of obtaining higher education as you have clearly not yet graduated from a kindergarten. For the information of the Oxford music professors, musical notation they are (still) using has been developed in Europe through the Dark and the Middle Ages, when Europe had no overseas colonies. If they are, however, so committed to “shaking off” all connections to “colonial past”, they should also abandon the Latin alphabet, English language, the idea of a university, and being paid in Pounds Sterling, all of which thrived during Britain’s colonial period and are clearly tainted by whiteness.

The West is falling not because barbarians have breached the gates; our own people have degenerated into barbarism and are tearing down the civilisation from within – while continuing to enjoy its benefits.

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