I already posted the resource at the bottom of this text, but, having lived with it for a few days, I just wanted to post further thoughts on this enterprise and what it means to me.
To study at the conservatory means to become acquainted with an incredibly large catalogue of music that I can not get to in a lifetime. I have come to love that catalogue, both for the tiny parts that I already know, and for the immensity that I ignore. That catalogue, minus exceptions that can be counted in one hand, is music by white dead men.
For some time, I resisted (not consciously) becoming part of this conversation which recognizes the canon that I received as a construct which is oppressive, either from male to female/non-binary, Eurocentric to everything else, or dead to living composers. I see this resistance as an old and somewhat endearing part of me that was ordering the same three dishes at this one diner, as a ritual that created a sense of security in a world where music is already not a secure way of making a living. Having said that, I want to be defined by my curiosity rather than by my fear, and at this point I want to begin incorporating into my listening, performing, and teaching the works by people outside of that canon. I want to widen this received canon into all the directions, and to do so in conversations with colleagues and audiences.
Thanks for reading this bit about my journey and check out Annie’s resource!
https://docs.google.com/spreadsheets/d/1aYnhfENzb2-pSQY-kzpxhpmMCC6Ob8X2y-6nUXdF720/edit?fbclid=IwAR1of7Y03QjpO-Fp-kOBe6FbHeVFFviCqErrma3VvTUao5WDRIPyt3sIPos
To study at the conservatory means to become acquainted with an incredibly large catalogue of music that I can not get to in a lifetime. I have come to love that catalogue, both for the tiny parts that I already know, and for the immensity that I ignore. That catalogue, minus exceptions that can be counted in one hand, is music by white dead men.
For some time, I resisted (not consciously) becoming part of this conversation which recognizes the canon that I received as a construct which is oppressive, either from male to female/non-binary, Eurocentric to everything else, or dead to living composers. I see this resistance as an old and somewhat endearing part of me that was ordering the same three dishes at this one diner, as a ritual that created a sense of security in a world where music is already not a secure way of making a living. Having said that, I want to be defined by my curiosity rather than by my fear, and at this point I want to begin incorporating into my listening, performing, and teaching the works by people outside of that canon. I want to widen this received canon into all the directions, and to do so in conversations with colleagues and audiences.
Thanks for reading this bit about my journey and check out Annie’s resource!
https://docs.google.com/spreadsheets/d/1aYnhfENzb2-pSQY-kzpxhpmMCC6Ob8X2y-6nUXdF720/edit?fbclid=IwAR1of7Y03QjpO-Fp-kOBe6FbHeVFFviCqErrma3VvTUao5WDRIPyt3sIPos
