In the last year, I’ve sat down several times to break down problematic and offensive programming and publishing decisions by major music institutions. Sometimes it’s started on Twitter, sometimes on my blog, but I’ve found myself circling back to many of the same issues again and again and again. In certain cases, it’s been harder to spot, because the Phantom Regiment snafu and resulting fallout look different on the surface than, say, the Larry Clark/Keiko Yamada moment or my thoughts and hesitations about Fire in my mouth. Each of these points to different, interconnected issues within our communities and the ways in which we talk about marginalized composers and their work. However, they also point to different ways in which our current mainstream discussions of these issues aren’t specific enough to make the right arguments for folks who may not be as plugged in as we are.
Because while these instances and others (looking at you, St. Louis Symphony’s History/Her Story programming) all fall under the umbrella category of Things Concerning Marginalized Composers, they don’t all deal with the same issues. In fact, they concern themselves with two distinctly different things: intentional programming and ownvoices representation.