Music Theory’s White Racial Frame

For over twenty years, music theory has tried to diversify with respect to race, yet the field today remains remarkably white, not only in the people who practice music theory but also in the race of the composers and theorists whose work music theory privileges. In this article, I offer a few explanations for why this is so. I posit a music-theoretical “white racial frame” that is structural and institutionalized, and argue that only through a deframing and reframing of this white racial frame will we begin to see positive racial changes in music theory.