Triggered by Bach: Classical Music as Implicit White Supremacy

“White supremacist” has long been the preferred Jewish epithet to throw at White people who have the temerity to do what Jews do routinely: openly advocate for their ethnic interests. This hackneyed label has always been utterly beside the point: whether Whites are superior to non-Whites has no logical bearing on the moral legitimacy of White people defending their collective interests. Having said this, everyone is well aware that the achievements of White people in countless cultural and scientific domains surpass those of other groups, and can objectively be regarded as “superior.” A conspicuous example is the Western musical tradition.

The superiority of Western classical music is so decisive one could almost rest the argument for the superiority of Western culture on it alone. There exists a hierarchy in the world of sound, as in other phenomena. Noise occupies the lowest rung in this hierarchy; it is an undifferentiated mass of sound in which no distinction exists. The lowest kind of music, say that of Australia’s Aborigines, most closely corresponds to noise. Western classical music, by contrast, exists on the highest rung because it apprehends sound in the most highly differentiated way possible. It is the farthest from noise and most fully exploits the inherent potential of the world of sound.

How well this potential is apprehended and developed can lead to Bach’s inimitable counterpoint, the extraordinary tonal architecture of Beethoven’s symphonies, Bruckner’s sonic cathedrals — or to banging on a hollow log with a stick. Besides stimulating pleasure in audiences, great classical music has an unrivalled capacity to shed light on our ontological predicament and connect aesthetic experience with the transcendental. Goethe once noted, with reference to Bach’s great fugues, where as many as five separate lines of musical argument are simultaneously sustained, that “it is as though the eternal harmony has a conversation with itself.” Only Western classical music, I would argue, can create this sublime impression.

To point out the foregoing is to trigger rage from anti-White commentators who huff that it has “long been an argument of white supremacists, Nazis, Neo-Nazis, and racial separatists that ‘classical music,’ the music of ‘white people,’ is inherently more sophisticated, complicated, and valuable than the musical traditions of Africa, Asia, South America, or the Middle East, thus proving the innate superiority of the ‘white race.’” The problem with this assessment, aside from denying the very existence of the White race, is the inability to demonstrate (or even attempt to demonstrate) that Western classical music is not inherently more sophisticated, complicated (and yes valuable) than other musical traditions.

That classical music stands as a glaring (and galling) testament to the preeminence of European high culture (and implicitly of the race overwhelmingly responsible for it), was evident in the reaction to a speech President Trump gave in Poland in 2017. The speech, praising Western civilization, included the line “we write symphonies.” Jonathan Capehart, a columnist at The Washington Post, fumed: “What on Earth does that have to do with anything? In that one line, taken in context with everything else Trump said, what I heard was the loudest of dog whistles. A familiar boast that swells the chests of white nationalists everywhere.” For Anthony Tommasini of The New York Times, Trump’s point, extolling the “richness, history and, indeed, the superiority of Western culture,” was “all too clear and dismaying,” Alex Ross, Jewish music critic for the New Yorker, found “ludicrous and sinister” Trump’s “implication that some cultures are incapable of creating symphonies,” a sentiment that, he maintained, should have “stirred bad memories.”

Classical Music as Insufficiently Diverse

As well as decrying as deeply offensive the invocation of classical music to praise Western civilization (and thus White people), commentators routinely bemoan the lack of “diversity” in the genre. According to Jewish music critic Greg Sandow, the “problem of racial diversity in classical music has long been the elephant in the room,” and he labels “ugly” the fact that classical music, “in practice pretty much a lily-white art,” claims “special privileges (lavish funding, school programs devoted to it) in an age of growing diversity.” Rather than simply reflecting the divergent preferences and aptitudes of different racial groups, the underrepresentation of Black and Brown people in Western orchestras (and their audiences) is inevitably ascribed to White racism. Black screenwriter Candace Allen, the ex-wife of conductor Sir Simon Rattle, branded the British classical music world “racist,” claiming a combination of discrimination and lack of exposure to classical music at an early age meant Blacks were unlikely to make it to the concert hall (in the audience or on stage), and when they did, “their sense of alienation made the experience not one to be repeated.”

According to this conception, an insidious White supremacist conspiracy keeps the classical repertoire dominated by the music of dead White men performed by living White men, and prevents Black and Brown people from succeeding in the genre. For the “White supremacist” social order to be maintained, Raymond Arsenault insists, “Blacks had to know their place, and the world of popular music was one of the places where they allegedly belonged.” While the “relativist revolution begun by anthropologist Franz Boas and others had already eroded the presumption of black inferiority,” in the Western world of public opinion and culture, “the time-honored shibboleths of white-supremacy held sway.”[i] One of these “shibboleths” was that:

Mastery of classical technique required superior intelligence, discipline, and years of training. The world of classical music was the province not only of natural talent but of cultivated genius. Here the barriers to black achievement were thought to be both cultural and physiological. Conventional wisdom held that blacks did things naturally and impulsively without much thought or deliberation. Classical music, by contrast, was intellectual, highbrow, and European in origin. As such, it was deemed inappropriate for African Americans three or four generations removed from the jungles of Africa. Black success in the world of classical music would be tantamount to beating whites at their own game, something that could not be tolerated or even contemplated in white supremacist circles. It would represent an affront to white sensibilities, upsetting expectations based on multiple layers of observation and socialization.[ii]

The White supremacist conspiracy to thwart Black and Brown achievement in classical music purportedly extends to musical education where, in the most commonly used theory textbooks in the United States, only 1.63% of musical examples come from non-White composers. This is problematic for Linda Shaver-Gleason because studying a particular piece “reaffirms its canonical status; enshrining it in a textbook is deeming it worthy of study.” Constantly referencing White composers “reinforces the idea that they’re the ones who deserve the most respect, as if to say, ‘Marvel at the many techniques Mozart used so perfectly!” Ethan Hein, a (presumably Jewish) doctoral fellow in music education at NYU, decries the stubbornness of music teachers in teaching “European-descended” classical music over that of “music descending from the vernacular traditions of the African diaspora.” Orienting music education towards the European classical tradition, an “implicit racial ideology,” is, he declares, “insidious” in its “affirmations of Whiteness.”

While White people are chastised for “appropriating” the cultures of non-White groups, the notion they should be allowed to maintain cultural and artistic institutions reserved exclusively for their own racial group is considered anathema. The Vienna Philharmonic came under attack in the 1990s for its failure to embrace the new ideological and moral imperatives of increased racial and gender diversity. One commentator condemned the orchestra for “its consistently racist and sexist hiring practices,” dismissing as “clearly absurd” claims made by representatives of the orchestra that it performs an essentially European art-form and thus should be composed of White men. Dieter Flury, a flutist for the orchestra, opined at the time that:

From the beginning we have spoken of the special Viennese qualities, of the way music is made here. The way we make music here is not only a technical ability, but also something that has a lot to do with the soul. The soul does not let itself be separated from the cultural roots that we have here in central Europe. And it also doesn’t allow itself to be separated from gender. So if one thinks that the world should function by quota regulations, then it is naturally irritating that we are a group of white skinned male musicians that perform exclusively the music of white skinned male composers. … If one establishes superficial egalitarianism, one will lose something very significant. … [S]omething produced by a superficial understanding of human rights would not have the same standards.

Music writer Stefan Aune insists the European domination of classical music cannot be attributed to advantageous genetic endowments possessed on average by White people, and has “no patience for individuals or institutions harboring antiquated beliefs about the superiority of White-European performers or composers.” Ignoring all the data proving the existence of significant racial differences, he ascribes such beliefs to “racism and a fundamentally incorrect view of musical history.” The European domination of classical music has, he insists, everything to do with “cultural inequalities” and nothing to do with inborn characteristics:

In the last analysis, racial and gender inequalities throughout the history of classical music are a question of access rather than innate ability. Individuals like [mulatto composers] Chevalier de Saint George, Samuel Coleridge-Taylor and George Bridgetower erode the argument that classical music is an exclusively white-European cultural enterprise. They show that individuals from any background can succeed in the western musical tradition, and they also show that the western musical tradition is not nearly as culturally homogeneous as many would argue.

The composers identified here are remembered solely because they were non-White — not because of the excellence of their compositions. Rather than being excluded from the classical repertory because of their music’s relative lack of quality and popularity, Linda Shaver-Gleason believes they are victims of the aforementioned White supremacist conspiracy which has “intentionally suppressed” their music  “in the service of a narrative of white — specifically German — cultural supremacy (because, alas, that too is part of Western culture).”

Constructing Beethoven as Black

Even the romantic idea of the composer-genius is regarded as an element of this conspiracy to keep Western classical music a Whites-only field. For Shaver-Gleason, “The conflation of ‘genius’ and ‘white man’ means that no minority will be viewed as a real genius, and hence not a real composer.” Given Beethoven’s status as the archetypal musical genius, it is unsurprising that aggrieved Blacks have, since the early twentieth century, attempted to propagate the myth that Beethoven had some African ancestry. The basis for this spurious claim was the composer’s somewhat swarthy complexion, and the fact a part of his family traced its roots to Flanders, which was for a period under Spanish monarchical rule. Because Spain had a longstanding historical connection to North Africa through the Moors, a degree of blackness supposedly trickled down to the great composer.

The myth was eagerly disseminated by Jamaican “historian” Joel Augustus Rogers (1880–1966) in works like Sex and Race (1941–44), the two-volume World’s Great Men of Color (1946–47), 100 Amazing Facts About the Negro (1934), Five Negro Presidents (1965), and Nature Knows No Color Line (1952). Rogers, whose intellectual rigor was basically nonexistent, claimed that Beethoven — in addition to Thomas Jefferson, Johann Wolfgang von Goethe, Robert Browning, and several popes, among others — was genealogically African and thus Black. Despite being thoroughly debunked, the myth still lingers in contemporary culture: in 2007 Nadine Gordimer published a short story collection called Beethoven Was One-Sixteenth Black: And Other Stories. The determination, contrary to all evidence, to make Beethoven Black is, of course, a desperate attempt to make the composer and his oeuvre a glorious symbol of Black accomplishment.

Shaver-Gleason warns such efforts are self-defeating, merely serving to treat the Western canon as fundamental and all other styles as deviations from this norm, thus reinforcing “the notion that of classical music as a universal standard and something that everyone should aspire to appreciate.” Trying to make Beethoven Black and desperately scouring the historical records for examples of non-Whites who wrote symphonies is to accept “a white-centric perspective that presents symphonies as the ultimate human achievement in the arts.” Black musicologist Philip Ewell agrees, and advocates “overthrowing the existing structure and building a new one that would accommodate non-white music a priori — no reaching for ‘inclusion’ necessary because non-white composers would already be there.” One Black music writer endorses this stance, and resents that the waltzes of Johann Strauss Jr. are regarded as part of the body of superior classical music, while the music of James Brown — “the Godfather of Soul” — is regarded as mere entertainment.

The East Asian Affinity for Western classical music

Curiously, the alleged White supremacist conspiracy that allegedly prevents Blacks and Browns from succeeding in classical music doesn’t have the same effect on East Asians – the one non-White group that likes performing and listening to classical music. A survey of Asian-Americans aged 18–24 found 14 percent attended a classical concert in the preceding year, more than any other demographic in that age group. Asian attendance rates match or surpass the national average up through the 45–54 age range. The younger the classical music audience gets, the more Asian it becomes.

Unlike non-White groups affronted by claims to the superiority for Western classical music, East Asians are under no illusion about the inferiority of their own musical tradition when compared to European art music. This acknowledgement lies at the heart of why East Asian parents are so enthusiastic for their children to play and appreciate the genre. As Amy Chua acknowledges in her widely publicized (and criticized) Battle Hymn of the Tiger Mother:

That’s one of the reasons I insisted [my two daughters] do classical music. I knew that I couldn’t artificially make them feel like poor immigrant kids. … But I could make sure that [they] were deeper and more cultivated than my parents and I were. Classical music was the opposite of decline, the opposite of laziness, vulgarity, and spoiledness. It was a way for my children to achieve something I hadn’t. But it was also a tie-in to the high cultural tradition of my ancestors [Chua is proud to be descended in the direct male line from Chua Wu Neng, Imperial Astronomer to a 17th-century emperor]. … To me, the violin symbolized respect for hierarchy, standards, and expertise. For those who know better and can teach. For those who play better and can inspire. And for parents. It also symbolized history. The Chinese never achieved the heights of Western classical music – there is no Chinese equivalent of Beethoven’s Ninth Symphony – but high traditional music is deeply entwined with Chinese civilization.[iii]

Chua is married to a Jew and recalls her stereotypically Jewish mother-in-law (a “progressive” art critic) being opposed to her grandchildren learning the violin — suggesting they learn Indonesian gamelan percussion instruments as more in keeping with the multicultural zeitgeist of the contemporary West. To back her case, she noted how French composer Claude Debussy had been captivated by gamelan music which helped inspire shimmering impressionistic masterpieces like L’apres midi d’un faun. Chua is distinctly unimpressed with this line of argument:

Personally, I think Debussy was just going through a phase, fetishizing the exotic. The same thing happened to Debussy’s fellow Frenchmen Henri Rousseau and Paul Gauguin who started painting Polynesian natives all the time. A particularly disgusting variation of this phenomenon can be found in modern-day California: men with Yellow Fever, who date only Asian women – sometimes dozens in a row – no matter how ugly or which kind of Asian. For the record, Jed [her husband] did not date any Asian women before me. Maybe the reason I can’t appreciate gamelan music, which I heard when we visited Indonesia in 1992, is that I fetishize difficulty and accomplishment. … Gamelan music is mesmerizing because it is so simple, unstructured, and repetitious. By contrast, Debussy’s brilliant compositions reflect complexity, ambition, ingenuity, design, conscious harmonic exploration — and yes, gamelan influences, at least in some of his works. It’s like the difference between a bamboo hut, which has its charm, and the Palace of Versailles.[iv]

Debussy first heard Indonesian gamelan music at the Paris Exhibition in 1889 and possibly again at the same event in 1900. In his biography of Debussy, musicologist Stephen Walsh notes that while it’s common to talk about the influence of the gamelan on Debussy’s compositions, it merely accentuated existing aspects of his style: “He did not need the gamelan to teach him pentatony, the whole-tone scale or modalism. They were already part of his language. Insofar as this contact with the oriental musical mind helped release him from the toils of Wagnerism and, worse, the [conservatively-inclined] Conservatoire, the truth is that it did so only in part and quite gradually.”[v]

East Asia has produced countless young technical virtuosos, but their nimble fingers and admirable work ethics are often not matched by the emotional depth required for the successful interpretation of nineteenth-century Romantic repertoire. Chinese film director, and classical music fan, Chen Kaige, hopes Western classical music can educate an intensely materialistic and collectivist Chinese people in spirituality and individualism. “One of the biggest differences between Chinese and Western culture,” he points out, “is that we don’t have religion. We don’t worship anything. Western classical music has elements of love and forgiveness that come from religion. Chinese music is very intellectual, very exotic, but there is no love. You don’t feel warm after you listen to it.”

Appreciation of Classical Music Correlated with Intelligence

The East Asian affinity with Western classical music is perhaps not surprising given that appreciation of the genre has been correlated with higher intelligence. Evolutionary psychologist Satoshi Kanazawa posits that more intelligent people populate concert halls because they’re more likely to respond to purely instrumental works. By contrast, people across the intelligence spectrum seem to enjoy vocal music. Kanazawa’s Savanna-IQ Interaction Hypothesis predicts highly intelligent people are more likely to adopt evolutionarily novel preferences and values. According to this theory, they are better able to comprehend, and thus enjoy, novel stimuli. Vocal music predated sonatas by many millennia, so, in evolutionary terms, purely instrumental music is a novelty — which, according to Kanazawa’s theory, means highly intelligent people are more likely to appreciate and enjoy it.

Studies support Kanazawa’s theory, finding clear preferences for instrumental musical genres among those who score higher on intelligence tests. Controlling for age, race, sex, education, family income, religion, current and past marital status and number of children, more intelligent people are more likely to prefer instrumental music than less-intelligent people. A 2019 Croatian study confirmed these findings, showing that people with lower intelligence preferred music with lyrics, rather than complex orchestrations. 467 teenagers performed a non-verbal intelligence test and were then asked to rank musical genres in order or preference. Those who recorded the highest IQ scores displayed a clear preference for instrumental music. On the other extreme, preference for rap music is significantly negatively correlated with intelligence.

The Savanna-IQ Interaction Hypothesis helps to explain why Black people (as a low-IQ group) are generally repulsed by classical music, and why it has been used successfully as a crime prevention mechanism in racially-diverse cities around the world. Neurologists note that certain types of music work as a crime deterrent because of people’s neurobiological responses to things they don’t enjoy or find unfamiliar. When people hear music they like, it stimulates dopamine production and puts them in a better mood. But when people dislike the music, their brains respond by suppressing dopamine production — souring their mood and making them avoid it.


Mass non-White immigration into Western nations has ensured that, for a growing percentage of their populations, classical music holds little or no appeal. Classical music audiences in the United States and other Western nations are contracting: according to a National Endowment for the Arts survey, in the early twenty-first century, the percentage of American adults who attended at least one classical music event dropped from 11.6 to 8.8 in just ten years.

Non-White immigration to the West was always unpopular with existing White populations who were assured it posed no long-term threat to their demographic and cultural dominance. This was always a lie: changing the demographics and culture of the West (in Jewish interests) was the core motivation for these policies. With the Great Replacement now well underway, even White people who enjoy a White art form – like classical music – are regarded by some as engaging in an activity that should make them feel “uncomfortable.” One White commentator, for example, laments that “we don’t seem uncomfortable enough” when “sitting in the concert halls of Europe and America’s cosmopolitan cities in a usually very white audience listening to a usually very white orchestra.”

African-American writer Teju Cole is similarly perplexed that White people who enjoy hearing White musicians playing White music don’t feel more uncomfortable: “It never ceases to surprise me” he notes, “how easy it is to leave the hybridity of the city, and enter into all-white spaces, the homogeneity of which, as far as I can tell, causes no discomfort to the whites in them.”[vi] Jewish music critic Greg Sandow likewise finds offensive that, “in a diverse culture, classical music stands out (on the whole) as strikingly white, and that even many white people, especially younger ones … look at classical music, and feel (whether they put it in words or not, or even if they don’t consciously know they think this) that something isn’t quite right, that this isn’t the country they live in.” The solution to this problem, according to Fred Bronstein, the Jewish former director of the St. Louis Symphony, is for future classical music audiences to be “much more diverse than we can even dream of today. And audiences will only become truly diverse when the performers on our stages are diverse.”

Classical music, like other aspects of Western culture, has been a casualty of the anti-White diversity mania that now infests Western intellectual life. The Cultural Marxist critique of classical music wallows in bad faith arguments and cognitive dissonance: Western classical music is nothing exceptional, yet cannot be invoked to praise White people because this necessarily implies the inferiority of other races; a White supremacist conspiracy thwarts Black and Brown achievement in the genre, but it utterly fails to prevent East Asian interest and success; Black composers have written symphonies (and, indeed, Beethoven himself was Black), yet the Western classical music tradition is inherently White supremacist and needs radical deconstruction.

Ultimately, the reason invoking classical music to laud White people is so keenly resented by anti-White intellectuals is because the gap in civilizational attainment it underscores is an embarrassing affront to regnant egalitarian assumptions. Classical music is one of the crowning glories of Western civilization, and White people have every right to take proud in their race’s achievements in the genre, and to cite these achievements as motivation for pro-White activism.

[i] Raymond Arsenault, The Sound of Freedom: Marian Anderson, the Lincoln Memorial, and the Concert That Awakened America (New York: Bloomsbury, 2009), 81

[ii] Ibid., 75.

[iii] Amy Chua, Battle Hymn of the Triger Mother (London: Bloomsbury, 2011), 22.

[iv] Ibid., 40-41.

[v] Stephen Walsh, Debussy: A Painter in Sound (London: Knoph Doubleday, 2018) 211.

[vi] Teju Cole, Open City (New York: Random House, 2011) 252.

37 replies
  1. James Clayton
    James Clayton says:

    WIKIPEDIA: “Paul Leroy Robeson was an American bass baritone concert artist and stage and film actor who became famous both for his cultural accomplishments and for his political activism. Educated at Rutgers College and Columbia University, he was also a star athlete in his youth. He also studied Swahili and linguistics at the School of Oriental and African Studies, London in 1934. His political activities began with his involvement with unemployed workers and anti-imperialist students whom he met in Britain and continued with support for the Loyalist cause in the Spanish Civil War and his opposition to fascism. In the United States he also became active in the Civil Rights Movement and other social justice campaigns. His sympathies for the Soviet Union and for communism, and his criticism of the United States government and its foreign policies, caused him to be blacklisted during the McCarthy era.”

    And then there’s:

    Stefan Molyneux On IQ & Regression to The Mean – YouTube

    “Stefan Molyneux On IQ &…” The YouTube account associated with this video has been terminated due to multiple third-party notifications of copyright infringement.
    Race, Genetics and Intelligence | Helmuth Nyborg and Stefan Molyneux

    Stefan Molyneux speaks with Dr. Helmuth Nyborg about human intelligence, including: general intelligence factor, racial differences in intelligence, impact of age on intelligence, gender differences in intelligence, physical differences between ethnicities, brain size, regression to the mean and the unintended [?] consequences of third world immigration.

    Dr. Helmuth Nyborg is a retired professor of developmental psychology at Aarhus University in Denmark – and is the author of many studies on human intelligence, personality, evolution, hormones and achievement. For more from Dr. Nyborg, please go to:

  2. Robert Pinkerton
    Robert Pinkerton says:

    “Classical” (i.e.: Highly organized instrumental and ideational) music was the musical background of my childhood, instilling a strong preference which continued until my hearing faded enough to require anti-social volume. (I probably qualify for many of the left’s nosology of pejoratives [to which I reply with the gesture of flicking a piece of lint off my shirt cuff].)

  3. kikz
    kikz says:

    ” According to Jewish music critic Greg Sandow, the “problem of racial diversity in classical music has long been the elephant in the room,”

    NO, jewish music critics deconstructing/dissing White Culture with impunity and nodding from the yahoos, with no one calling them on it……. is the elephant in the room.

  4. Joe
    Joe says:

    The music of Johann Sebastian Bach alone is enough to show the immense chasm that exists between “white’s” and all other race’s music. Not only is his mastery of counterpoint a marvel in itself, but the divine inspiration in virtually all of his works (both secular and non-secular) is astonishing. Atop many of his major scores, he penned, “To God Alone The Glory”. That says it all.

  5. 3g4me
    3g4me says:

    Brilliant post, which beautifully articulates the points I attempted to make in a thread at Steve Sailer’s ostensibly HBD site. I argued that while others could appreciate, play, or mimic the Western musical tradition, or compose marvelous fusions (like Debussy’s use of Gamelan music, I opined on the Lebanese influence in Dave Dale’s American-fusion surfer music – totally different in quality but similar use of non-Western musical tradition), they could not and did not possess the genetic inheritance to have originally created such a musical canon. Like the Viennese quoted above, I argued that Western music – much of it created for or played in churches, “is not only a technical ability, but also something that has a lot to do with the soul. The soul does not let itself be separated from the cultural roots . . .”. In response I received the typically garbled skepticism and derision from Whites (who consider themselves erudite and yet terribly edgy for acknowledging some uncomfortable facts about race) who essentially mocked the very concept of a cultural soul proceeding from a specific culture’s DNA. So racial genetics is applicable to crime, but not culture – because of Asian performers or Jewish composers, thus conclusively proving, to their own satisfaction, that once again White people aren’t particularly special after all – merely somewhat better behaved than others.

    • Namedito
      Namedito says:

      There are lots of asians who dislike blacks, and lots of Jewish mischlings on that site (Steve himself is one such) who resent Whites limiting thier culture/gene pool/ civilisations to themselves alone. You get alot of pushback from those types.

      Personally it sickens me.

  6. Barkingmad
    Barkingmad says:

    Let’s hurry up & take this to where it’s really headed:

    It’s Time To Let Classical Music Die

    “Western classical music is not about culture. It’s about whiteness. It’s a combination of European traditions which serve the specious belief that whiteness has a culture—one that is superior to all others. Its main purpose is to be a cultural anchor for the myth of white supremacy. In that regard, people of color can never truly be pioneers of Western classical music. The best we can be are exotic guests: entertainment for the white audiences and an example of how Western classical music is more elite than the cultures of people of color.”

    Compliments of Nebal Maysaud – a queer Lebanese composer based in the Washington D.C. Metro Area.

    Better grab your old discs of von Karajan conducting the Wiener Philharmoniker and head for the hills, folks.

  7. Hugo Adrian
    Hugo Adrian says:

    Most of my favorite modern composers are Japanese men and women working in films and video games. In fact throughout the 1990s video game companies with products aimed at children as young as ten started selling arranged albums based on the original computerized compositions, elevating them above the “bleep bloop” noises of the video game itself to anything from piano solos to a full orchestra with chorus. Who, if not the young fans of these games, would be buying such CDs? And as the computer hardware became more complex, so too has the music and graphics of video games. Today, many feature fully orchestrated soundtracks rivaling those of Hollywood films, and I wager there are just as many Japanese composers working today as there are Western ones working in Hollywood. It lays bare the premise of all the anti-White authors mentioned in this piece as the utter nonsense it is.

    It is perfectly clear that there is nothing stopping any particular group from achieving success in the field if they have the intelligence, talent, skill, and resourcefulness to make it happen. Nor is there anything wrong with White people taking pride in the fact that Europeans developed a musical language that can only be appreciated and performed at the highest levels of intelligence. The problem, of course, is average intelligence differs between the races. For those who seek to destroy Western civilization, they cannot admit this fundamental rule of nature without White people realizing they are being taken advantage of on an industrial scale.

  8. Curmudgeon
    Curmudgeon says:

    I can´t speak for the situation in other countries, but in Canada, jazz is promoted in school music programmes. The explanation is some gibberish about the UN recognizing that it is a genre liked around the world. All I saw was a push for “inclusion” of the ever darkening school population that 50 years ago was 99% White.
    I grew up listening to the Big Band music my parents enjoyed, but from an early age liked classical music more. I was considered, by most of my classmates as an oddball. I like have a wide appreciation for many types of music (rap is not music), but classical is still the top of the list. In the 1960s, Leontyne Price was at the top of her game. She was talented, and I could have care less about her skin colour. More recently, there have been Kiri Te Kanawa, Jesse Norman and Kathleen Battle. They too, have/had great voices. Like Price, their race didn’t prevent them from succeeding by performing White Supremacist music.
    On another note, my piano tuner told me of his trip to Vienna, the highlight of which was a visit to the Bösendorfer factory. Somewhat prejudicially, I suspect, he described the technological wonder and mechanics of a piano. I must admit, looking inside a piano never struck me that way, but as he described the complexities in producing a single note, I have to agree with him. That got me thinking about all of the other instruments associated with classical or even European folk music. Virtually all of them are unmatched, technologically speaking, by all other cultures. Not only is the music superior, the means of producing it is, as well. I would even extend that to the great highland bagpipe. While other cultures have bagpipes, the great highland pipes, with their multiple drones that can be tuned, are recognized to be at the top of the heap.
    In closing the loop, it is ironic that “Black Music” appropriates the technology, used to produce White Supremacist music, to produce its own.

  9. Realist
    Realist says:

    Great article.

    Without a doubt classical music is the most cerebral of all music, literature and science of western civilization are peerless and all are the domain of White culture.

  10. JRM
    JRM says:

    Some good points here. One thing you will find, though, is that the classical music establishment, like most “highbrow” cultural enclaves, is a very liberal one. Try espousing White racial pride around these people and see what happens.

    Blacks who do show any interest in performing (or even listening to) classical music are fawned upon. I’m not sure anything makes the classical music crowd quite as happy as a black person dabbling in their world. They’ve gotten so used to Asian prodigies that I think a serious devaluation of Asian diversity points is taking place. “Well, another Asian” they seem to think; “not much diversity *there*, really…if only they were Black!”.

    Of course, we White intellectuals (if you are reading this site, I’m going to grant you “intellectual” status) have a problem, in that ever since the 1930’s, and with increasing fervor after WWII, our more “educated” and “intelligent” folk tend to adopt liberal world-views (they came free with the college education). It’s a sad fact that these intellectuals presided over the dismemberment of our Western Culture postwar in the name of “open-mindedness”.

    You know, I have loved classical music most of my life, but I’ll bet those “rednecks” back in the 1960’s South who warned that blacks really demanded integration in order to get their hands on our women- remember those guys?- well, I doubt there was a classical music aficionado amongst them. But long after the soothing tones of our intellectual class assured us that race-mixing reductio-type arguments like those voiced by the “segregation forever” proponents were insultingly short-sighted, in fact quite preposterous, and an insult to the serious-minded Negro, who ended up being right all along?

    And it is essential to note that the classical world is rife with the Chosen. They can make excellent conductors; less often composers of real genius. With Jews as cultural gatekeepers, I’m surprised there hasn’t been a more overt war on dead White composers. Perhaps even the Jews can’t bear a world without Beethoven. They never really got around to dumping Wagner!

    • Trenchant
      Trenchant says:

      Yours is a good point. The classical music scene is totally imbued with liberalism. A cosseted lot they are, too.

  11. j. eric smith
    j. eric smith says:

    I have spent my whole life in music and have been well trained in classical.jazz and pop.
    My father was an painter and trained me in that as well.

    The horrible truth is when the jews took control of civilization in the mid 1800’s they turned art into a cruel joke on the goy to destroy their minds. The romantic period was the turning point in music with overly vain works of masturbation that lack the clarity and pure joy of the baroque. Its too horrible for words what they have done. All art was raped- there is no other way to describe it. Picasso excrement. Schoenberg’s pure insane hatred of all that is good. It goes on and on. It would take volumes to catalogue the satanic horror of what they did. These people ony are capable of trickery, hate and destruction and are incapable of beauty unless you consider their exquisite criminal tortures of humanity beautiful. It is their ecstasy.

    • Carolyn Yeager
      Carolyn Yeager says:

      j.e.s. – your views are the views of Adolf Hitler on art and on jewish influence on art. Why is Hitler seen as anti-art, anti-culture and unacceptable, but you are not?

      • J. ERIC SMITH
        J. ERIC SMITH says:

        Thanks for your comment.
        The question remains as to whether Hitler was an innocent fool (another “useful idiot”) or an open collaborator with the elite jews.

        But art is art and my criticism stands on its own merit.

    • Doc
      Doc says:

      The Middle East (and North Africa) used to be White. Most of them mixed, Jews didn’t. They want the same process in Europe and the Anglosphere.

  12. Fenria
    Fenria says:

    There is no conspiracy to keep blacks out of classical music, as men like Joseph Boulogne and Ignatius Sancho so easily proved so long ago, back in the supposed “bad old days”, even. The point is, you have to be able to play. To read music. To compose. You have to be one of those blacks whose IQ is on par with the high end of white IQ distribution, and there are only ever 10% of blacks out there who fit that bill at any given time. So the fact of the matter is that whites have never kept blacks out of classical music, or any other high minded artform for that matter. Blacks themselves have closed their own doors by reveling in the lowbrow degeneracy of sub par IQ entertainment which so accurately suits their disposition.

    • TJ
      TJ says:

      Assume high end is IQ 160. This is one of 30,000 [approx.]- 4 std deviations from median. [For Whites]

      Looking at blacks [IQ 67] and not mulattoes. 160 less 67 is 93. Divide that by 12- the assumed width of a std deviation for them- this is 7.8 std deviations. This blows the fuses on the Z-score calculator- the chances are given as one out of infinity. . .6 std deviations gives an actual number- one of a billion.

      So the chance of a true black, not mixed race, having an IQ >= 160 is. . .it’s impossible. Zero. Nada. Zilch raised to the power of zilch.

  13. bruno
    bruno says:

    How lucky we are and how appreciative we should be to have a cultural site like this one. This piece hit us hard. We had a death in the family and (thus) have been raising a grandchild. When reading the commentary here we were floored. You see, our grandchild was given violin lessons. Low and behold each teacher was an ultra liberal. Consequently, we changed instruments and went to piano. After hearing the thoughts of instructors -this was over a three year period- we dropped all considerations of mastering either the violin or piano. In discussions with others we discovered that most within the noted crowd were utopian liberals. We see the same thoughts here. It’s amazing how the MSM has influenced even music.

  14. lucius vanini
    lucius vanini says:

    Naturally the East Asians would be attracted to European Classical music, and not only to symphonic and chamber but to operatic. The South Koreans have an average IQ of 106, the Chinese and Japanese, 105!

    Yes, great idea to play Classical LOUD if negroes are about. It cannot but be poison to their soul, of which, despite the colloquial connection of BLACK and SOUL, they have very little.

    Look at the “World Ranking of Countries by IQ,” compiled by Lynn and Vanhanen for IQ AND GLOBAL INEQUALITY (2006), whose bottom is a solid block of 44 black countries of Sub-Sahara and the Caribbean.

    But I must take the article to task for not shredding the grossly ignorant notion that Beethoven MIGHT have had Sub-Saharan blood because of the occupation of Flanders by the Spaniards and the occupation of Spain by the “MOORS.” The people whom Medieval Europeans called “Moors” were typically Caucasians. The original Muslim conquerors who subdued most of Spain in 711 CE were Near Eastern Semites and Maghrebi Berbers (“The Berbers are a Caucasian people thought of as the original inhabitants of North Africa”–Manning et al, 2004). By about a third of the way through the Moorish Period, moreover, the vast majority of the Muslims in Spain, to whom Christians applied the name MOORS (the Muslims never used the name), had come to consist of native Spanish and therefore European converts to Islam (and largely of Celtic, Celt-Iberian, Roman and Germanic blood), called MUWALLADUN, or MULADIES as we say in the West today.

    That these Medieval Moors were typically Caucasians is abundantly corroborated by (1) contemporary historians such as Ibn Hazm (born Cordoba, Spain, 994 CE) (2) contemporary pictorial representation, e.g., LAS CANTIGAS DE SANTA MARIA (3) genetic analysis of the Spaniards and Portuguese which doesn’t suggest an 800-year occupation by a black majority; (4) the cruelly low estimation of blacks expressed by Muslim intellectuals and by Maimonides (1135-1204 CE), the most famous Jewish philosopher and a native of Islamic Spain–depicting blacks as lacking human intelligence; (5) the invariable “Caucasianness” of the Moriscos, descendants of the Moors of Spain, who live in Mediterranean Africa today.

    The ignorant idea that the Moors of the famous Moorish Period were a black people is “negrocentric” pseudohistory. It comes from the same source as do the claims that the Egyptians, Phoenicians, Hannibal and the Carthaginians, Olmecs, etc., were black nations–that source being a desire to remedy problems of black self-esteem. Also, there’s the equally ignorant notion that AFRICAN is synonymous with BLACK, though Africa is not a race but a vast continent which has been extremely diverse for millennia and there’s no fact of history more solid that the great demographic divergence of Mediterranean Africa from more southerly parts of the continent. Lastly, Shakespeare unaccountably made his Othello a negro–notwithstanding that the character is believed to have been inspired by the Moroccan ambassador to Elizabeth I, ben Messaoud, whose contemporary portrait attests to his perfectly Caucasian features and his pale complexion (google the portrait of Abd al-Ouahed ben Messaoud).

    • Vinster
      Vinster says:

      Thank you for this beautiful history lesson. Are there any books or articles that you can direct me to to learn more on this topic “That these Medieval Moors were typically Caucasians “

      • Lucius Vanini
        Lucius Vanini says:

        Vinster, I’ve tried TWICE to respond, typing long posts each time, but they don’t seem to go through. I’m through with replying or commenting on O.O.


        (Mod. Note: “Lucius”, no comment from you has not been approved, or even seen in the moderation queue so far.)

        • Lucius Vanini
          Lucius Vanini says:

          Well, moderator (I presume), that’s VERY strange. I was able to get my first comment through, and as you can see it’s sizable. But I tried replying to Vinster with comparably long posts on July 3rd and, on finding it absent from the page, on July 4th. Both efforts were a tad taxing.

          But then I see that my brief response to Vinster got through. WTH???

          Does my having included four links, https:// links, make a difference, perhaps? I included none in the original posts, but did in the attempted second and third. I’ve seen it stated in at least one site that the owners don’t want links in the comments.

        • Charles Frey
          Charles Frey says:

          Lucius, I too, as I am sure many others here, would feel impoverished to lose someone with such depth and breadth. Several of my comments were lost as well, resulting in an exchange similar to the one between you and the moderator. My comments go through some Montreal outfit bought and multiplied by a Jew, who MAY be doing his own thing in his perceived interest.

          Quite by coincidence, I too commented on this section CONSTRUCTING BEETHOVEN AS BLACK, which comment also evaporated in thin air. You wrote, ” But I must take this article to task for not shredding the grossly ignorant notion that Beethoven MIGHT have had Sub-Saharan blood because of the occupation of Flanders by the Spaniards and the occupation of Spain by the Moors “.

          That unfounded premise, which might make me Chinese for having repeatedly visited there, glued my tongue to my cheek, and I took it ad absurdum. Not only did I fully agree with this [ asinine ] premise, but I tried to give it legitimacy by suggesting that Beethoven’s black line originated from a sub-Saharan, conscripted into the obviously white Berber army, which is known to have ventured into Spain on occasion. While thus occupying Granada, Ludwig’s black predecessor married the daughter of not the designer or engineer of the Alhambra Palace, but of its financier, making him Jewish: proving once again their predominance in creative genius.

          Though quite proficient in Russian many years back, a friend said something in incomprehensible Church Slavonic to me. What did you say? Shit happens !

          Stay with us !!!

          • Lucius Vanini
            Lucius Vanini says:

            Charles Frey–
            Your encouraging me to stick around and participate presupposes that I can get my posts through. Well, I responded to the moderator too and THAT didn’t get on the page either! So of my attempted posts more failed to appear than succeeded. I’ve no idea whether you’ll get this one. But I don’t have enough confidence to try to post here again; moreover my time is too important to me. And don’t worry: I have a website of my own in mind. Look in the near future for a WordPress site likely to be called EUROPEAN FAMILY or FAMILY MATTERS.

            Hopefully there people will be able to post without suffering what’s happened to me and, so you say, to you as well.

          • Charles Frey
            Charles Frey says:

            Lucius, @ your Reply to me.

            I comprehend all your disappointments but not your momentary withdrawal symptoms; particularly in light of your self-assigned, admirable sense of mission, as indicated by your intention to create your own site.

            Whoever the server of this site, how can you possibly place unconditional or any confidence in them, given Israel’s admitted dominance in cyber-warfare, and its ADL- published intention, and subsequent establishment of its highly sophisticated, purposeful installation in Silicon Valley, to control the net ?

            Said Montreal Jew bought the Canadian franchise of then nascent Go Daddy and turned it into millions. It was his outfit, in my apparent pipeline, that indicated Error such and such, stating, that the recipient, [ i.e. TOO ] refused receipt: more than once; [ my ass ] robbing me of my time as well.

            Your site will deal with Family. Well, so does the current article on income. It would be a benefit to read a characteristically analytical comment from you.

            Remember my Church Slavonic-speaking friend’s reply: Shit happens ! So it will with your own site, at some time: guaranteed. Don’t just turn the other cheek but step well out of its recognizable splatter Pattern.

  15. Panadechi
    Panadechi says:

    The goal of Zionism is to use the divide-and-conquer tactic, de-legitimize its opponents:
    Marxism is the Jewish power and control, through the conflict
    Capitalism is Jewish power and control, through money
    Both complement each other.

  16. Al Ross
    Al Ross says:

    In the time – honoured tradition of his racial cognates, Schoenberg informed us that atonal music is the (alien) future by dogmatically saying that every note on the keyboard must have equal value.

    It may sound good to Orientals but most White people might demur.

  17. Clemsnman
    Clemsnman says:

    If you think about it, music has a striking similarity with sports. It’s objective, in that either you can play or you can’t. Those who play the best, are listened to.
    And it’s ironic that while the Classical music world is way left in its politics, and full of asians and Jews, they apparently have been actively keeping blacks and hispanics out.

    But I do hate it when a symphonic orchestra insists on playing some other genre tunes to be hip. Or when an all white Catholic choir sings old black spirituals. It’s as comfortable as a 300lb man running a marathon.

  18. William Gruff
    William Gruff says:

    ‘Individuals like [mulatto composers] Chevalier de Saint George, Samuel Coleridge-Taylor and George Bridgetower erode the argument that classical music is an exclusively white-European cultural enterprise.’

    Precisely, as does the fact that blacks can drive cars proves that the invention and continued development of the various components that go to make a contemporary automobile is not ‘an exclusively white European enterprise’. How many blacks work in the higher innovative levels of automotive design and engineering?


  19. Gilles
    Gilles says:

    There were Black people involved in classical music, even if they were mixed-race, the article should have mentioned these.
    Joseph de Saint-George 1745-1799
    Samuel Coleridge-Taylor 1875-1912
    For interpreters:
    Leontyne Price, Barbara Hendrickx, Jessye Norman, Simon Estes,… as singers
    Andre Watts as a pianist
    Henri Lewis and Dean Dixon as conductors

  20. Lucius Vanini
    Lucius Vanini says:

    Charles Frey–
    Sounds like you might be a member of the O.O. team, solicitous as you seem to be concerning my continued participation? Well, in any case, I appreciate your kind words, and assure you I’ll continue to read O.O. As for posting, I rather doubt it, because I don’t have this same trouble getting my words on other blogs’ pages, and I’d rather apply my energies where I’m confident they won’t be wasted.

    Yes, our adversaries are capable of the worst skullduggeries, and I wouldn’t be surprised if indeed one or more of them has been knocking down such posts here as are inimical to their filthy agenda–though for some reason my first comment made it to the page, and IT contravenes the program of teaching Europeans self-alienation….

    Regards, L. Vanini

    P.S. I don’t understand your “Shit happens….step well out of its recognizable splatter Pattern.” By the way, I’m no stranger to shit happening; I’m banned from You Tube and Twitter, in the first of which I debated for years primarily against negrocentrics and their White patronizers/pitiers.

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