¹ Philip Ewell, “Race, Gender, and Their Intersection in Music Theory,” Music Theory's White Racial Frame: Confronting Racism and Sexism in American Music Theory (blog), April 10, 2020, https://musictheoryswhiteracialframe.wordpress.com/2020/04/10/racism-sexism-and-their-intersection-in-music-theory/.

² Kajikawa, Loren, “The Possessive Investment in Classical Music: Confronting Legacies of White Supremacy in U.S. Schools and Departments of Music,” in Seeing Race Again: Countering Colorblindness Across the Disciplines, ed. Crenshaw, Kimberlé, Harris, Luke, Lipsitz, George, and HoSang, Daniel Martinez (Berkeley: University of California Press, 2019), 155–74CrossRefGoogle Scholar.

³ Cusick, Suzanne G., “Listening to the Dead: Toward 21st Century Music Histories,” Musica Docta 6, no. 1 (December 2016): 51–56Google Scholar.

⁴ Cheng, William, Just Vibrations: The Purpose of Sounding Good (Ann Arbor: University of Michigan Press, 2016)CrossRefGoogle Scholar.

⁵ One of my most rewarding and transformative classroom experiences has been co-designing and co-teaching a course with a faculty member in Political Science and Ethnic Studies. See Kajikawa, Loren and HoSang, Daniel Martinez, “Pedagogies of Music, Politics, and Race in US Music Studies,” in Sounding Together: Collaborative Perspectives on U.S. Music in the 21st Century, ed. Garrett, Charles Hiroshiv and Oja, Carol J. (Ann Arbor: University of Michigan Press, 2021), 287–309Google Scholar.