Conclusion
My current research question, concerning the effects of racism and xenophobia on musical analysis, interpretation, and documentation in past ethnomusicological practice, proved to be very easily addressed across many different types of sources. I’ve gathered enough information to determine for myself that my research is in fact contingent and relevant in the ethnomusicology context. I would, however, also say that there will always be far more sources to consider than can be read, which makes it difficult to reach a definitive conclusion as to the current state of ethnomusicological practice.
I am not surprised by the evidence I found in my chosen sources. The reason that I felt the question needed researching, in the first place, was because I had already identified the problem in previous readings in my personal time. I would still like to explore more older sources to determine just how far an ethnomusicologist of the time was able to go and the absolute depth to which racism and xenophobia affected their reports. I believe I have only revealed the tip of the iceberg in this area.
Continuing into my final Segment 4 project, I would like to explore more of the modern impact these negative sources have had on present day musicology. I would also like to create parallels to a non-musical young adult audience.
As a person of color, it is very difficult for me to read some of the things written in these sources. As a music history major, however, I feel is it an issue that absolutely needs addressing, no matter the personal cost, because of the toll racism and xenophobia takes in the everyday lives of people like me. It is far more important to study these sources critically and learn from them, than to pretend that such hatred did not exist. The music world has always been dominated by white males in the Western tradition, and I feel it is important that I use my own privilege to take steps to disassemble that hierarchy and reveal the beauty of music in all races, cultures, and traditions equally.