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Should Asians be the Preservers of Western Classical Music? Racial Souls and Music
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I recall a video on Youtube with Camille Paglia despairing the fading of the Western Tradition — as a champion of worthless skanks like madonna and other deracinating actors, she sure is one to talk! She spoke of how younger generations of students, for all their intelligence, are woefully ignorant of the Bible and pagan mythologies of Greece that informed and inspired so much of Western Art & Culture, indeed well into the 20th century. How is one to recognize the allusions in Western literature without a firm grounding in cultural canon?
She also lamented the fading of interest in Classical Music among young ones, going so far as to speculate it may survive as a living tradition only in East Asia. (Paglia wanted to have it both ways. She relished irreverence and fanned rebellion against tradition & order but also defended the latter for its richness in heritage and meaning. Besides, rebels can keep at rebellion only against existing authority. Paglia enjoyed the Sixties too much to relinquish the role of the eternal teenager, one who drives his/her parents crazy without ever wishing to murder them. Once authority fades, rebels find themselves as the new authority, and things can be much worse with the combination of the radical will and iron grip. Indeed, it was precisely why Bolsheviks as the New Boss were far more repressive and ruthless than the Old Order. Traditional Authority could be brutal and oppressive, but it was about maintaining the same old same old. Lacking the fiery spirit of revolution, it was like cold iron. In contrast, precisely because rebels and/or revolutionaries lacked institutional power, they relied on inspiration and passion, the stuff of fire. But what happens when the Old Order collapses and the rebels/revolutionaries take over as the New Boss? Result is the hot furnace of fire and iron. Paglia cheered on the anarchists against Church authority but also respected and even secretly revered that authority as a storage of a rich tradition, as well as a worthy foe. Indeed, the worth of any rebellion depends on the quality of the nemesis. It’s like climbing the highest mountain. The pride of conquest rests on the seemingly insurmountable task. Paglia’s attitude was to climb the mountain but keep it intact than blow it up. This is where she found herself at odds with many of her radical generation who were less interested in conquering the mountain than blowing it all up. They weren’t merely rebellious teenagers but had patricide in mind, along with the rape of mother. Jim Morrison and the Doors: “Father, I want to kill you, mother I want to f——–.” Paglia cheers on the Satanists to lay siege to the church but also wants the church to defend its hallowed ground. She’s rocks to “Sympathy for the Devil” from outside the walls but joins in the chorus of “Ave Maria” from within the walls. She’s all messed up like the Kundry character in Richard Wagner’s PARSIFAL. In contrast, Jewish Supremacists and ‘woke’ radicals call for total destruction. They root for Pussy Riot gangs and globo-homo subversives to vandalize and desecrate the inner sanctums of the church. Globo-Homo has been far more insidious because, unlike the blatant blasphemy of Pussy Riot, it feigns a pseudo-pietism that would have us believe Christian Love smiles down on ‘angelic’ tooters getting all fruity with each other’s bungholes.)

Camille Paglia Scowls at the Metropolitan Museum - The New ...

At any rate, perhaps there is something to what Paglia said. Classical Music in the future may be better preserved in places like Japan and China than in the US, even Europe. Given the decline of interest in Classical Music among Westerners in general, the obvious solution would be to get more young whites interested in Classical Music as not merely great music but a rich cultural heritage. Instead, the top priority isn’t too-many-yellows and not-enough-whites but where-are-the-Negroes? As if whites losing their musical heritage to yellows isn’t bad enough, the call is for them to lose it to blacks as well. But then, as blacks have been sacralized, many whites surely feel everything is ennobled or consecrated by its association with blacks.

But blackity-black or yellowy-mellow, the truth is the Classical Tradition arose in the West among the whitity-whites. It is essentially European, with some contributions by American composers(but then, what is America but an extension of European Civilization)? Besides, why a need for more blacks in Classical Music when they have their own musical forms, some of them remarkable and inspired in their own right? Whatever blacks are deficient in, musical expression(along with sports) isn’t one of them. But given that the new cult/quasi-religion among whites is the Tri-Idolatry(or Tridolatry) of Jews, homos, and blacks, whites do fret about the Black-Lack wherever blacks fail to excel and/or show much interest. (Yes, it’s ‘racist’ white folks’ fault that not enough blacks are into Haydn and Brahms.) If blackness is sacred, or ‘blacred’, then black holiness must shine its radiance(or cast its cool shadow) over everything. If something is absent of or insufficient in blackness, it is deemed unblessed, unhallowed, or unredeemed. So, it doesn’t matter how great it is for what it is. It is excoriated for its Black-Lack, or B-Lack. It’s like everything has to have blactose, the sugar of vibrancy.

Classical Music is one of the greatest achievements of mankind, and one of the unique contributions of Western Civilization, all the more remarkable because, despite its particular origins, it is perhaps the most universal form of music in its reach and breadth, i.e. its emotions/passions can be felt directly and personally across cultures; the emotions come across as those of Man than of Hindu, Muslim, Turk, Chinese, or Irishman(who’d rather be singing ‘Danny Boy’ instead anyway). Perhaps, this owes to the combination of Christian universalism and Hellenic tradition where the notion of Man became independent of cultural markers.

One thing for sure, even as all the world can appreciate and gain inspiration from it, Classical Music Tradition hardly requires the input of non-Europeans for validation or legitimacy. If there’s an all-white blues band, perhaps one may wonder why there isn’t a Negro in it. B-Lack can be an issue. But what need is there for blacks in Classical Music? If blacks show interest and want to play the music, okay, but what does the form gain simply by having Negroes?
Classical Music has no Negro origins and reached its apotheosis purely as European music. Arguably, the only notable non-European contribution to Classical tradition came from Jews, but these were Europeanized Jews who themselves were steeped in the heritage through semi-assimilation genetically and culturally.

But even as whites wish for more blacks in Classical Music, the reality is it has attracted countless Asians, especially the yellows. Some may argue that even if whites were to abandon the tradition, there will be Asians to keep it alive. But is this a good idea? I think not.

Now, what happens in Asia is immaterial. If Japan, South Korea, Taiwan, and China want to have their classical music schools and orchestras, that’s their business. But what happens in the West should be the business of whites, the core of Western folks. Classical Music is Western Tradition. For the most part, the Classical idiom has failed to produce great new works. In terms of originality, it is irrelevant and survives mainly as movie scores.
One may argue that the form has been exhausted by past greats who explored virtually all the possibilities of structure and expression(which is also true of Jazz and possibly Rock as well). All art-forms eventually run dry. Then, Classical Music is museum music, something to be cherished and preserved as part of the Western canon and heritage. Modernism’s emphasis on novelty and shock has made people forget the other purpose of art and culture. Ultimately, a civilization is more about inheritance than inspiration. After all, even if Western arts and culture had stopped progressing after 1600, there would have been an immense treasure trove of accumulated masterpieces. Similar claim could have been made 1600 yrs earlier as the pagan Greeks and Romans had already achieved so much.

So, if Classical Music is one of the great treasures of Western Civilization that needs preserving, then it does matter WHO preserves it. It should be up to Western folks to do it. It should be their duty, obligation, and responsibility as well as joy, blessing, and honor(as how many peoples have been bequeathed with such greatness?). It shouldn’t be up to Asians, just like it isn’t the role of non-Jews to keep alive the Jewish tradition. You can’t expect another family to bring flowers to the graves of your forebears.

Now, a distinction must be made between preservation and inspiration. It’s fair game for any people to take inspiration from the Classical Tradition and forge their own music. It’s like white folks took from black Blues and created their own styles of Rock. But when it comes to the preservation of core Blues, it should be up to blacks. White folks can learn to play it, gain inspiration from it, and fashion their own stuff out of it, like the Rolling Stones and Led Zeppelin. But core Blues is black, and it’s only right that the carriers of the torch should be men like Otis Rush. No matter how well a white guy may sing and play the blues, it seems almost like a parody for him to do it straight, as if he really is a Negro than merely drawing water from the Negro well. Unless he makes it his own through inspiration, he should just give it up. Leave it up to the Negroes to preserve the core idiom.

Sadly, too many Negroes now only care about rappity-rap, leaving it up to non-blacks to care for their musical heritage. But then, whites are doing the same to Classical Music, too often leaving it up to Asians. Just like core Blues expresses something unique deeply embedded in the Negro soul, Western Classical Music flowed from the deep wells of the European soul. Just like anyone can learn to play the blues, anyone can learn to play Classical music. But outward mimicry doesn’t get to the deeper well from which the expression sprang. When a white man plays the blues, he shares in the outward buzz of being Negro-like but remains a stranger to the dark recesses of the black soul, the inner-racial zone of ‘Sheeeeeeiiiiit’ from which the bluesy energy sprung.

Likewise, Europeans, especially Germanics, have a collective soul unlike any other from which greatest expressions of the Classical Tradition swelled and erupted. This isn’t to suggest one kind of soul is better than others but to acknowledge the uniqueness of racial personalities and souls. Consider the link between Jewish Soul and Jewish Humor.
Of course, there would have been no Blues music without white influence as black Blues arose in the American South through contact with white music, but white music had to be sucked into the black hole of the black soul to re-emerge as the big bang of ‘sheeeeeiiiit’. No blacks, no blues. When white American style mixes with Mexicans, it produces something quite else. Whatever it is, it isn’t the Blues.

Just like blacks took from white music to make the Blues, Germanics took from Italians to make their form of Classical Music and Opera that were darker and more powerful. But again, the Italian forms of music had to enter the German soul to re-emerge in the form of Beethoven, Brahms, and Wagner. Of course, most Germans, like most blacks, had little in the way of originality as geniuses are few and far between among all groups. Still, Germanics were fortunate that those among them with the greatest natural gift for music got to express the soul and spirit of their people(like what Andrei Tarkovsky did for the Russian Soul through film art). If the Germanics didn’t have a Homer to do justice to their mythology in words, they certainly had Wagner to compensate in music. It goes to show that it’s not enough for a people to have a unique collective tribal soul. Fullness is realized only when geniuses among them arise to give the expression it deserves with inspiration drawn from elements within and outside the culture.

Personally, the sight of all those Asians serving as preservers(or ‘preservitors’) of Western Classical Music seems all wrong. It’s not only wrong for the West but for Asians themselves. It’s one thing for Asians to take inspiration from Western Music and create their own interesting variations(like Toru Takemitsu) but quite another to do it so straight and faithfully with a cultural form which isn’t their own. They seem like a bunch of lame, imitative, and uninspired robots. I don’t care how well some Chinese guy plays Classical Piano. I don’t care how well Yo MaMa plays the cello. Or how well some Korean woman is a wizard with a violin or some Japanese guy is so adept with an oboe. They are lamely preserving the tradition of another people. Surely, they have their own traditions to preserve, like Noh Theater. Let Japanese preserve Noh Theater, and let whites preserve Classical Music. Again, it’s primarily a matter of preservation. When it comes to inspiration and creativity, anyone may borrow from anyone or anything as long as he makes it his own.

It seems most East Asians in Classical Music aren’t drawn to it out of passion and love. Rather, as illustrated in Amy Chua’s BATTLE HYMN OF THE PUSSY MOTHER, it seems the product of shallow status-obsessed Asian parents who want to show off their kids as entrants into respectable society by playing high-brow music for rich, privileged, and educated snobs. So, it’s not like most Asian instrumentalists pursued classical music out of personal passion. Rather, they were raised like trained monkeys to pursue whatever’s deemed proper and respectable.
True creativity is suppressed in favor of programmatic repetition to play the notes perfectly(even though maybe the Asian personality, being naturally obedient and conformist, is amenable to this). So, even as Asians master the outward expression of Classical Music, they fail to access the inner well of creativity that made the music possible in the first place. It’d be like some Asian memorizing Greek plays by rote and reciting them perfectly without genuine understanding of the personalities and individualities that created them to begin with.

Granted, most people of all races are not original or creative, and the purpose of cultural preservation is to learn, master, and keep than to be creative. It’s about keeping the flame than igniting new fires. But again, if the purpose is preservation, it should be performed by the descendants/inheritors of those who created the culture. Is it wrong for Greeks to maintain the Parthenon or for the Chinese to upkeep the architectural features of the Forbidden City? Is it wrong for black Africans to keep with the bongo drum tradition? Or for American Indians to carry on with the Rain Dance? (Did it ever work?) True, the West became vast and expansive in ways that no other civilization did, but Classical Music is steeped in European history, culture, arts, and spirituality. Non-Europeans should draw inspiration from it, not merely imitate it or take on the burden(and blessing) of preserving it.

Now, what about Classical Music in East Asia itself? Japan and China have major orchestras. And Japan even produced world-class conductors. In one way, it’s their business, and it shouldn’t matter to the West. Still, I find something ridiculous about the whole idea. Long ago, some Japanese conductor toured the West — no, it wasn’t Seiji Ozawa — as a specialist in the music of Gustav Mahler. He conducted an American orchestra and was well-received. Okay, I understand he really loved the music and became a master in the field. But why? It’s one thing for Japanese to admire Western Classical Music, but why adopt it as something so intrinsic to Japanese cultural life? Not only does it carry the odor of cultural theft but cultural self-denial, as if Japanese are so deficient in a culture of their own that they must borrow a foreign culture wholesale, unaltered and to be imitated note for note.

Besides, given the sheer imitativeness of the East, it is fast adopting ‘wokeness’ and lose interest in Classical Music as the expression of White Maledom. Asians imitate whiteness, and Japan imported Jungle Fever big time from the West, and Taiwan has ‘gay marriage’. Whites now worship Negroes, and so goes Japan, which even hosts countless African men to live with Japanese families, leading to you-know-what. Just look at their national teams in the Summer Olympics. So, as the West falls, so will the East(at least the part within the Western sphere of control and influence), which, as such, cannot be relied upon as the last bastion of the Western Heritage.

But, that isn’t how Japanese culture developed through history. Japanese drew from Chinese and Indian sources in architecture, music, spirituality, philosophy, sculpture, and craft, but they always made the borrowings their own with unique tastes and touches. And even though Japanese cinema drew heavily from Hollywood, Soviet montage, and German cinema, it produced giants like Kenji Mizoguchi, Akira Kurosawa, and Shohei Imamura who did their own thing. Japanese also took Western pop music and did interesting things, like the pop hit “Sukiyaki”, which actually isn’t about beef boiled in soy sauce.
But when it comes to classical music, Japanese, like other East Asians, have taken the Western Classical Tradition wholesale, learning and playing the music note by note. They’ve adopted the music not as a point of inspiration but a matter of preservation. But it isn’t theirs to preserve.

It is duty and honor of Western Folks to preserve… but then, whites today are so colonized by Jewish Power that the running theme of the Current Year is the Black-Lack. Never mind the tragedy of not enough white kids showing interest in this great tradition. The big question among the elites is WHERE ARE THE MAGIC NEGROES to play the violins, cellos, clarinets, tubas, trombones, and etc.? It’s as if everything whites ever created was ultimately to be served to blacks, surrendered to blacks, or to be redeemed by blacks. It went from “Hey Hey Ho Ho Western Culture Gots to Go” to “Hey Hey Ho Ho Western Culture Gots to Go Negro”. Of course, the Negroes have a simple reason for their lack of interest in classical music or nuclear physics: We be too busy rappin’, stealin’, cheatin’, shootin’, sniffin’, and actin’ crazy while you dumbass white folks wash our feet and suck our d—s.

What a dumbass world.

Btw, would it be a good idea to have something like a video series on Classical Music? Ken Burns did one on Jazz, and it reignited interest in the musical genre among many young ones who never paid attention to anything outside the latest pop music. Of course, there are documentaries(available on youtube) on various great composers of Classical Music, but most of them are inferior and disconnected from one another in theme and narrative. Such a project would be worth funding by cultural conservatives with deep pockets who profess to care about the Western Heritage. A unified video series on the whole arc of Western Classical Musical tradition, from within Church walls to the great halls of the modern era.

• Category: Arts/Letters • Tags: Asians, Classical Music 
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  1. anonymous[258] • Disclaimer says:

    The sexy concert dresses of female Asian musicians certainly help the advancement of classical music – here’s stylish Yuja Wang below

    But first, somebody please tell this goofy ‘Jung Freud’ to stop using ALL CAPS for music and movie titles … this makes his articles super-IRRITATING to read

    Yuja Wang:

    • Replies: @Anon
    , @Bardon Kaldlan
  2. Hitmarck says:

    Whatever blacks are deficient in, musical expression(along with sports) isn’t one of them.

    Could I be given a few sports blacks came up with?
    Is hateful Rap lyric an expression of blacks or do jews express themself by giving black people, here we go with some real classical music knowledge, a modernized version of German Sprechgesang?

    The History of Rap | Owen Benjamin from owenbenjamin

    • Replies: @anarchyst
  3. Your essay has enlightened and inspired me in several ways.

    For one,I’ve never quite thought of Classical, Jazz, and Blues traditions in the way you present them, but your analysis and presentation is clearly correct. More on this below.

    For another, you are dead on regarding the Asian Classical musicians main thrust being excellence at imitation. For several decades now I have seen Asian musicians both young and older who excel solely at the learning by rote imitation that you quite rightly assess is at least in part due to shallow status- obsessed parents (with tiger moms leading the way). These musicians have learned well but their talent has been directed toward rote learning. I had the pleasure in the last few months of watching several Van Cliburn performances that he did in Moscow in the late 50s and this is the kind of Classical musician that you want preserving the Classical traditions.

    Another point you make is the problem with Camile. I love what she has to say about how she came up in the 60s, what the thrust of 2nd wave feminism originally was, how it got perverted by other feminists, and how that left her and a few others like fish floundering on the shore. But you have pointed out a key blind spot in Paglia’s thought: she obviously thought the culture could be rebelled against but basically preserved, whereas her “sisters” just were interested in tearing the entire culture down. And those are the feminists that survived and thrived.

    I will just throw 2 questions out, before I conclude. One, isn’t the rich (and white) Country and Folk Tradition the natural answer to the rich (and black) Blues Tradition? They clearly give and take from each other, but they are very clearly from the two different cultures that came up in the 19th century and unto today [by the way, another bull’s eye would be your speculation on the exhaustion of musical forms in Jazz, Blues, Classical, Rock, and Country. It really does feel like these musics have reached a point where there is little new to say, yet they are still interesting and inspiring to listen to–p.s., the same can be said for Rap–but nothing new is happening in any of them.] I think you missed a point there in not elaborating on the folk songs of the early 20th and late 19the century that evolved into Country and Western, then Country music. In 2022 neither Blues nor Country claim more than a 10 percent share with the listening public (and jazz even less) but both Country and Blues are clear and worthy original forms.

    And two, just an aside in that are you aware that many of the popular songs from the 1920s into the early 1970s are merely clever stylizations of Classical works? The popular tunes of white culture some of them came from Classical, and then the jazz artists took those popular tunes and re-harmonuized them in their own Jazz expressions.

    In conclusion, I have a deep love of blues especially the Chicago bluesmen Jimmy Reed and T-Bone Walker. I have performed some of their works as a singer and player and released my version of Jimmy Reed’s You’re Somethin’ Else. And I intend to cover a few more of their works this year. But I always knew that I had added little in my release of Jimmy Reed’s piece and that my style and musical arrangement of the piece was more imitative, and that bothered me. You’ve put your finger on my malaise. I am adding nothing new to the blues works that I love so much (along with Keith Richards and Brian Jones I might add, though they did truly add not just imitate). And I cannot get black enough to sing their blues works solely as a re-do.

    After reading your essay, I am going to have to rethink my plans to perform and record the works of Reed and Walker. I must find my own way of doing these works that befits who I am and my white culture if I am to continue performing and releasing these songs.

    Thank you for an inspiring bit of writing.

    • Disagree: Pierre de Craon
    • Thanks: 36 ulster
    • Replies: @Thomasina
    , @SunBakedSuburb
  4. TG says:

    “In terms of originality, it is irrelevant and survives mainly as movie scores.”

    Indeed yes. Classical music is still powerful, people are still moved by it. It does speak to us. It’s just that we are no longer interested in sitting down for two hours looking at someone’s shoes.

    In the days before internet and TV and recordings etc., a live concert must have been magical. But today? It fails to grab the interest.

    I think part of this is the utterly boring stodgy presentation of classical music. I was at a concert once where – breaking with form – I got to sit up behind the orchestra looking down, and the main players were introduced by the conductor. That little change made the entire experience so much more interesting.

    Listen to Holst in a regular concert hall? Nah. Watch the big battle scene in the Russell-Crowe movie “Gladiator” where Holst’s “Mars” is the perfect music for it? Yes.

    • Agree: martin_2
  5. Wyatt says:

    Rather, they were raised like trained monkeys to pursue whatever’s deemed proper and respectable.

    Yellow monkeys*

    Jeez, at least get the vernacular right.

  6. anarchyst says:

    I commend Asians for their interest in classical music and for their expertise in performance. There is much talent in the Asian world, especially when it comes to western classical music. Perfection in musical performance is a desirable Asian trait.
    As a professional musician, I must insert my “two-cents” into the conversation…
    While perfection in performance of western classical music is desirable, the “feeling” sometimes “just isn’t there” when performed by Asians. Technical perfection is one thing, but a little “slop” (variation) in the performance adds to the feeling of the music.
    Mind you, western classical music may not tolerate much variation, but other forms of music (rock, jazz, country) DO benefit from a little “slop” (variation) which really adds to the musical “feeling”.
    This takes nothing away from the many excellent traits and performances that Asians bring to classical music.
    In my humble opinion, Asians will be extremely instrumental and important in preserving western classical music.

    • Agree: JR Foley
  7. anarchyst says:

    As far as I am concerned, “rap” or “hip-hop” is just another degradation introduced to blacks by the jews.
    “Rap” is “spoken word” lyrics to a (somewhat) musical beat…nothing more.
    The jewish music executives are laughing all the way to the bank…

  8. Maximo says:

    Yeah, it’s cringeworthy for East Asians to be so into classical music, but they’re faithful to the original, and in any case it’s still a majority white field. The greater danger by far is the black-ification of our culture and history (Anne Boleyn for christ’s sake) and by the same token, the lack of interest by the younger generation to be stewards of Western civilization. In fact, they’ve been convinced it’s oppressive. It’s downright diabolical.

  9. Rahan says:

    East Asians are the only race which doesn’t feel automatic crushing inferiority when confronted by classical white music or architecture or art, and instead are like “wow, this is terrific, I need to learn that!”

    All other races scramble for their folk music to feel at least some sense of pride in themselves (and also call it ‘classical’), and only the best among them are capable of appreciating actual classical music. But there are some everywhere. Even minor composers in many places, keeping the flame alive. Keeping in mind that whites have stopped producing new stuff, that’s really fair game.

    Some day perhaps a Cambodian or Angolan or Guatemalan crazy genius will go all into Mozart or Bach and produce at least one comparable piece and this will be wonderful. But as such the big cultural wave is over, and whoever manages to preserve at least a part of it — God bless them.

    Everyone’s national anthems to this day are mostly primitive variations of the European classical music heritage. And I appreciate that.

    • Replies: @martin_2
  10. This guy doesn’t understand anything about music, but he shore writes a lot.

    I guess writing a lot makes up for ignorance.

    • Agree: Pierre de Craon
    • Troll: 36 ulster
  11. A Youtube channel I have occasionally watched which used to be about music theory recently posted a video on the connection between music theory and… wait for it… white sooooopremacy. Did you know that music theory was developed by white people as a rubric for understanding their own music? And that’s bad, because brown people also have their own kinds of music, you see. I mean, how evil are those white people that they invented music theory based on their own music? So white people have an moral obligation to invent music theory based on other people’s music as well and bequeath it to those other people. And stop having music theory about their own music. ‘Cause that’s bad. Or something.
    That particular Youtuber lost a subscriber.

  12. “When a white man plays the blues, he shares in the outward buzz of being Negro-like but remains a stranger to the dark recesses of the black soul, the inner-racial zone of ‘Sheeeeeeiiiiit’ from which the bluesy energy sprung.”

    Kingsley Amis said that “No white man can play jazz without a sense of shame.” He thought that was a good thing. To him, and his pal Phil Larkin, jazz was all about rebelling against their parents by playing jungle music. Hence, they actually preferred White musicians and “white jazz” and especially corny Dixieland crap.

    Their taste never matured, and Larkin wrote some especially tone-deaf “reviews” of later jazz musicians like Parker and Coltrane, who dared to produce music too sophisticated for Bertie Wooster to jam along with.

    These kinds of “conservatives” are like Boomers who never gave up on the 60s, man.

  13. The best music being made today is video game music from Japan, which is classical music in form. Final Fantasy has come to trump Wagner and Beethoven.

  14. It also makes sense that the Japanese would be the inheritors of German music since they were allied to them during WW2 and are largely unapologetic for it, while whites all wet themselves trying outdo each other in slandering the Germans.

  15. gay troll says: • Website

    Speaking of Western classical music, I just penned a screed against Neil Young which may be viewed at my substack which is linked above.

    • Replies: @Mario Partisan
  16. joe2.5 says:

    The problem with the author here is not so much that he is an unreconstituted caveman but that he has no ear at all.

  17. Amy Chua’s BATTLE HYMN OF THE PUSSY MOTHER, it seems the product of shallow status-obsessed Asian parents who want to show off their kids as entrants into respectable society by playing high-brow music for rich, privileged, and educated snobs.

    Nope. Amy Chua knew what all wise parents know: the best way to get kids through adolescence is to involve them in a creative art. A similar passion for sport works well, too.

    Amy told her (true) story tongue-in-cheek, intending both to amuse and to enlighten slacker Western parents.

    Her kids turned out to be perfectly normal Harvard and Yale graduates who remember their childhood fondly. And Amy’s book gained her international recognition and lots of money. A win-win.

  18. @gay troll

    “I hope Neil Young will remember, a (southern) man don’t need him around, anyhow.”

    Apparently, he forgot.

  19. mijj says:

    > “She relished irreverence and fanned rebellion against tradition & order but also defended the latter for its richness in heritage and meaning”

    .. ah .. you mean she is an element of Establisment who enjoys role-playing “rebellion” as a decorative fashion statement.

  20. A personal anecdote – as a “yute” I excelled at music and played for a local yute orchestra. We were good. My senior year of high school the best of us were selected to go on an official state visit to China and play a couple combined shows with Chinese yutes – Beijing and Shanghai. As good as we were, I remember being very impressed with my Chinese counterparts. It never occurred to me to be mad that they were playing “my people’s” music.

    That was 20 years ago and around that time, our esteemed head of state asked – “Is our children learnding?” The answer be then and be now – no they aint. Who be learnding up in this bitch? Dem ching chongs. Gnome sayin?

    But seriously though, that Asians are excelling at classical music, even if in an imitative fashion, does not bother me in the slightest. What should bother us is our failure to get our youths to have the same fire and drive. Getting mad at Asians is really nothing but sour grapes. Where are our tiger mothers?

    In fact, to get mad at Asians for playing western music is really whining about “cultural appropriation” – which is the last refuge of the woke scoundrel.

    That said, I do think that classical music’s being a uniquely European creation speaks to something unique and beautiful about the western mind. Classical music does strike me as an expression of the unity of Left and Right brain activity, a kind of marriage of pathos and logos. On the one hand, you have the mathematical aspects of synchronized tempo, chords and harmonics, and on the other hand, an intuitive understanding by the composer of the emotions that will be elicited in the listener. Imagine finding a way to get a bunch of pieces of wood to create vibrations in the air that can make someone feel the emotion you want them to feel. One may be excused for thinking that the composer is channeling the spirit of God.

    Now, if our people have forgotten or lost interest in performing these works and the only ones who want to are the Asians, to them I say thank you.

    • Thanks: inspector general
  21. I recall buying some highly recommended Oriental’s recording of Scarlatti’s sonatinas about 40 years ago, and immediately noticing that it was lifeless compared to the \$2 CD out of the budget bin, recorded by some nameless guy. No doubt the nameless pianist was some newly de-Sovietized Eastern European who got paid in cigarettes and bluejeans to sell on the black market.

  22. The classical recordings many of us grew up listening to in America were largely recorded by Jews. Issac Stern, Yehudi Menuin, Vladimir Horowitz, Arthur Rubinstein, Leonard Bernstein, Eugene Ormandy, et cetera. Not until later did I buy some German recordings and get a different feel from them, less effusive I’d say. Just as Jewish literary critics in New York had promoted Jewish authors post WW2, their musical co-ethnics had held up Jewish musicians as the standard. Maybe we should be wary of Jews as the preservers of our music. I look for Europeans on the labels of the music I buy.

    • Agree: JR Foley
    • Replies: @haha
    , @SunBakedSuburb
  23. SafeNow says:

    In organic synthesis (“org-syn”) (The creation of a new molecule; a new drug), here’s how it works. (or at least used to, and I’m guessing it’s still the same). An American scientist invents a brilliant, creative 50-step process that will perhaps result in a new molecule. It is then turned over to the Chinese, where the fastidious “bench work” is, indeed must, be done by their scientists.

    Anything (ahem) that must be done fastidiously to be done extremely proficiently, have a northeast Asian do it. Anything requiring a loose brain, look elsewhere; I think neuroscientists called this “exuberant synapses.”

  24. martin_2 says:

    What do you mean “stopped producing new stuff”? There are plenty of living composers. John Adams is one. Not that long ago there were Giants like Bartok and Stravinsky. Also Schoenberg, Scriabin, Shostakovich, Prokoviev, Scriabin, Janacek, Messiaen, Lutoslawski, Britten… I could go on…

    • Replies: @Jmaie
    , @Rahan
  25. haha says:

    If you are into Beethoven symphonies, I highly recommend the Furtwangler performances. Since these are WW2 era recordings, the technical audio quality is not good, but the music is divine. The Otto Klemperer ones are almost as good, with the added bonus of excellent technical recording since these were 1960’s and 1970’s recordings.

  26. Jmaie says:

    What do you mean “stopped producing new stuff”? There are plenty of living composers. John Adams is one.

    New =/= necessarily good. I had this whole screed written up about the 3rd rate’ness of modern classical composers, how their music is either uninspired copycatting or gimmicks like “4:33 of silence.” Chromatic bullshite useful only as movie soundtracks. Then I realized I was thinking of John Cage so I thought I’d check out some of John Adams’ music. I found…chromatic BS with odd time signatures, stylistic choices made just to show how edgy and original he is. Reminded me of Ornette Coleman’s stuff where a group of guys sat down and played in different keys / time signatures and were lauded for it.

    I’m with you on Bartok, Stravinsky and the like, I’ve nothing against dissonance. But the most modern composers just can’t compare. Just because music is played on orchestral instruments doesn’t make it classical.

  27. Truth says:

    As if whites losing their musical heritage to yellows isn’t bad enough, the call is for them to lose it to blacks as well. But then, as blacks have been sacralized, many whites surely feel everything is ennobled or consecrated by its association with blacks.

  28. Anon[203] • Disclaimer says:

    Pretty sure the author is a ‘she’ not a ‘he’.

    As a general rule this kind of anti-Asian hatred is going to be coming from white females, every time.

  29. Rahan says:

    I understand your pain but this general malaise has affected every aspect on cultural life.

    For example in literature you have Bethoven-like titans in the 19th century, then you have pretty excellent giants like Fitzgerald and Hemingway before WWII, then you have a bunch of Jews pretending to be novelists, and when somebody like Tom Wolfe tries to bring back the 19th century novel, his stuff reads compared to them the way a top-notch symphonic metal band sounds compared to Tchaykovski.

    At the start of the 21st century you have the likes of Jonathan Franzen writing like a very average 1950s novelist, and after that a wasteland. To put it another way, there was a time when Raymond Chandler and Ian Fleming were considered barely readable pulp. But any random ten pages by Chandler or Fleming have more solid writing in them than the average lit novel today. Three chapters from a le Carre (or le Guin for that matter) book have more good writing in them than any random ten books today.

    Within smaller scenes the same has happened. There are no more rock giants like Zeppelin or Purple, no more metal giants like Judas or Maiden, today you just have minor bands trying to maintain a basic level of competence. Even in thriller and horror writing the big masters are boomers who are now in their 70s and 80s. The generation after them are pygmies.

    John Adams is this. The symphonical equivalent of Jonathan Franzen (who himself is in his 60s now and an unreachable pinnacle for the new crap crop), and also “the last of the solid boomers”, demography-wise.

    It’s absolutely great that everywhere, in every scene and every genre there are people who pour their hearts out into “keeping the flame alive”. These folks keep culture going in some respects. But that’s all they are doing. Keeping culture from total collapse by maintaining a minimum of continuity. Again — a very important thing to do, perhaps THE most important thing. But Tolstoys and Rembrandts they ain’t. They ain’t even MacLeans and Aivazovskys.

  30. Thomasina says:

    I like the Allman Brothers doing the T-Bone Walker song “Stormy Monday” – Live, Filmore East (1971) – great music!

    • Replies: @restless94110
  31. jxh says:

    In discussing the contributions of European music, I would consider the pipe organ to be an instrument truly unique in history.

    A profoundly complex instrument, the size of a large building. A grand scale unmatched in the world.

    • Replies: @SunBakedSuburb
  32. @restless94110

    “deep love of blues”

    Your rather erudite comment was met with great appreciation by most of my personalities. However, your exclamation of love for the blues, the Johnny-One-Note of music genres, was given the thumbs down by all of them. Was the radio filled with young British musicians interpreting that most somnolent of music styles when you were young? The reason why blues is so sleepy and monosyllabic is because it began it’s life as clandestine rhythm back in the carefree days of slavery; a dirge developed by Haitian bokors who carried the blood of the French plantation owners who practiced a form of black magic that syncretically mixed Babylonian Jesuitism with the native animism; this racial and religious mix endowed these Haitian voodoo priests with Free People of Colour status, which allowed them to travel the Antebellum South unmolested. The Haitians, using this privilege of movement, inserted themselves into the slave populations. Once inside, they conjured this banal black magic rhythm to spark a mighty slave revolt that led to the defeat of the Confederacy by the Rothschild-funded armies of the North. The blues has quite a history; a narrative which deserves better musical accompaniment than the blues.

    • Replies: @restless94110
  33. @jxh

    “the pipe organ”

    An instrument that goes well with Vincent Price movies, funerals, and pizza.

    • Replies: @Jmaie
  34. anon[155] • Disclaimer says:

    This author Jung-Freud writes and sounds a lot like frequent commenter Priss Factor. Funny choice of name though, as Freud is a Jewish name.

    As for the article, imitation is the sincerest form of a flattery. But perhaps Amy Chua isn’t being honest. The main reason why Asian kids flock to classical music is because of elite college admission. Any kid who isn’t black who wants to get into an elite college knows they need to excel in sport or music. White kids do better in sports because they are physically taller and stronger, while Asians dominate music because…well, they’re not as tall as whites or blacks so can’t be competitive in sports. So if we want Asian kids to stop playing white people’s music, stop elite colleges from giving preference to talented musicians.

    In addition, mastering a classical instrument calls for lots of hard work and discipline, which white kids increasingly lack. Parental involvement is key in keeping the kids practicing esp. when they’re younger, but many white parents adopt the laissez-faire attitude and refuse to push their kids too hard. Think of how hard Mozart’s dad pushed him when he was young. Today such a parent would be locked up for child abuse.

    Lastly, it doesn’t matter how hard you’re willing to work, talent still matters. Contrary to what Malcolm Gladwell tells us in Outliers, the difference between Beethoven and me is not just 10,000 hours of practice. For some reason many East Asian kids seem to be born with innate talent at playing the piano, esp. Asian boys. I noticed this at many piano recitals. The most talented kids are always the East Asian boys. Many of these same kids also excel academically, especially in math. The two abilities seem to be linked.

    Sadly though, because so many started at a young age and only did it for college admission, they stopped playing after high school even if extremely talented, because there is simply no viable career path for music majors and Asians are a practical minded lot. Most of these kids did indeed play very mechanically and without any joy, but a small minority ended up truly appreciating it for its beauty and ended up majoring in it in college. You can see this by the increasing number of Asians in professional symphony orchestras.

    You could say if it weren’t for Asians, classical music would be long dead. But then, perhaps the main reason whites shy away from it is precisely because it is now dominated by Asians, sort of like how whites shy away from farm work, restaurant kitchen work, mowing the lawn etc. because they are now dominated by Hispanics – don’t want to be the only non-Spanish speaking person. Maybe if Asians stop flocking to classical music white kids will come back, or maybe it’ll just die, who knows? What I do know is that whenever I attend our local symphony, I always enjoy the beautiful pieces of music being played, despite the at least 1/4 Asian musicians. And for that I’m grateful. IMO it doesn’t matter if the violinist is white/black/Asian/brown, as long as they do justice to the music. I would like to think the orchestra only hires the best musicians, rather than by diversity quota.

    Should we also stop people of all other races from playing sports that whites came up with like…I don’t know, golf? Equestrian? The Chinese came up with soccer, and the British came up with ping pong, should we restrict soccer to only East Asians, and ping pong to only Whites?

    • Replies: @Priss Factor
  35. @starterkit456

    “I look for Europeans on the labels of the music I buy.”

    It’s impossible to separate Jews from Christian Europe. The two peoples have been locked in a fatal embrace since the time of the Babylonian Magi, who became the Druids. And then the Jesuits. That being said my favorite composers come from Christian backgrounds: Sibelius, Debussy, Bach, Beethoven. Although Claude Debussy was a Rosicrucian mystic, which makes him a crypto-Jew.

    • Replies: @starterkit456
  36. @anon

    This author Jung-Freud writes and sounds a lot like frequent commenter Priss Factor. Funny choice of name though, as Freud is a Jewish name.

    Jung-Freud is a Soviet space pilot.

    In addition, mastering a classical instrument calls for lots of hard work and discipline, which white kids increasingly lack.

    Perfectionism stamped fun out of classical music. I say let’s have Hillbilly-style classical music where people can play more naturally and personally than so precisely and perfectly.

    Yeah, a great idea. The Hillbilly Label for classical music. Someone should start the business.

    Hillbilly Mozart.

    Add banjo to classical music. Use this kid:

  37. @SunBakedSuburb

    I think the Nazis would disagree with you on the possibility of separating Jews from Christians.

    • Replies: @SunBakedSuburb
  38. @Thomasina

    Saw the Allmans when they were callling themselves Hour Glass at the old ofriginal Fillmore. “they knew their blues.

  39. @SunBakedSuburb

    Your comments are both arrogant and preposterous. That’s now where and when the blues was ” started” and the blues is far more complex than you are able to fathom.

    If I wanted a lecture filled with nonsense and misstatements I’d go to an Antijfa meeting. Mentioning slaves immediately bankrupts you. The blues had little to do with slavery. It was and is a cool, supple, music that has inspired people and musicians throughout the world.

    I’m giving you an F.

    • Replies: @SunBakedSuburb
  40. Jmaie says:

    “the pipe organ”

    An instrument that goes well with Vincent Price movies, funerals, and pizza.

    Says someone who’s never heard organ music played in a proper venue. The experience is physically overwhelming on top of the joys of the music.

    You wouldn’t be from San Leandro, would you?

    • Replies: @SunBakedSuburb
    , @Fox
  41. @starterkit456

    I disagree with the Nazis about a lot of things. I do enjoy wearing the dress black SS uniform, however.

    • Replies: @anarchyst
  42. @Jmaie

    “You wouldn’t be from San Leandro, would you?”

    I’m a life-long San Leandran.

    “Says someone who’s never heard organ music played in a proper venue.”

    Uh, a little place called Pizza n’ Pipes on Freeport Boulevard in San Leandro.

    • Replies: @Jmaie
  43. @restless94110

    “Your comments are both arrogant and preposterous.”

    Preposterous? Probably. Arrogant? Impossible. I have a very low opinion of myself.

    “It [blues] was and is a cool, supple, music that has inspired people and musicians throughout the world.”

    Blues is about as graceful as a cauliflower fart. It’s as “cool” as the elderly white Boomers who show up at the Rolling Stones cover band show at the Indian casino. I gave you an interesting historical take on your favorite crappy music genre and you respond with insults. Thanks a lot, Daria Albinger.

    • Replies: @restless94110
  44. This guy always writes so long that I’m going to comment before even reaching the midway point. There is no “should” in the question of who is preserving classical music. People in the West have abandoned classical music for rock and other sorts of music that better suit them as they are today. Asiatics revere classical music the way our fathers and grandfathers did, but they too seem to be headed in the same direction as the West. There are values inherent in classical music that by and large are not what people in the West aspire to today. The difference is largely that between adult and teenager.

  45. Jmaie says:

    Uh, a little place called Pizza n’ Pipes on Freeport Boulevard in San Leandro.

    I was thinking of Ye Olde Pizza Joynt on Hesperian…

  46. @SunBakedSuburb

    Blues is about as graceful as a cauliflower fart. It’s as “cool” as the elderly white Boomers who show up at the Rolling Stones cover band show at the Indian casino. I gave you an interesting historical take on your favorite crappy music genre and you respond with insults. Thanks a lot, Daria Albinger.

    Have no idea what a cauliflower fart is.
    The blues has nothing to do with boomers; it is a music beloved and played all over the world by those of all ages.
    A Rolling Stones cover band would be even more boring than the Rolling Stones are. And neither has much to do with the blues.
    The blues is not my favorite music genre, crappy or otherwise. Music genres as an ideal are like beauty: in the eye of the beholder.
    Your historical take was revisionist history and the opposite of interesting. Your take was insulting and ignorant.
    Who is Darla Albingerr? Your girlfriend? Your mom?.
    Don’t you have something else to do that you can blame on slavery? Yarn? Bleach Blanket Bingo? The space between your big toe and the toe next door?

    I’m sure we all could benefit by your Silent Generation take on life when slavery was something no one talked or cared about because it had happened over 100 years before. No one but you, grandpa. Yes, the younger generations moved on from that slavery ate my homework nonsense like um, 70 years ago, but not our little Japanese soldier on a deserted Pacific island still fighting World Ware II.. Keeping that alive, buddy, that’s your raison d’etre. You and Darla.

  47. @Priss Factor

    Conductor to lady cellist:”Madam that object between your legs is designed to give great pleasure,but you insist on sitting there scratching it!”😋

  48. Fox says:

    Do you have an organ piece that often occurs to you in your mind? For me it is the Organ Concert in A-minor from Bach, BWV 593, and the organ symphony from Saint Saens.

  49. Ole_ed says:

    Person A reveres J S Bach or Beethoven; Person B reveres Dylan, Stones, P Floyd or whoever:

    Person B thinks his taste is comparable to Person As taste.

    Person B is a fool.

  50. @Anon

    Kinda couldn’t help noticing it too.

    White males make fun of Asian males, but there’s a limit.

    But White females, they just seem to harbor this really deep, visceral, dark hatred for the Asian female. Everything around us reinforces White female self-esteem and view of themselves as the most beautiful, most desired, the gold standard.

    You’d think they’d cut non-white women some slack, even just out of magnanimity or pity. Why kick someone who’s down and so far below you? But nah, not when it comes to Asian females, they illicit some sort of inner anger in the White female.

    Can’t figure it out, seriously.

    • Replies: @Jmaie
  51. @Anon

    Pretty sure the author is a ‘she’ not a ‘he’.

    As a general rule this kind of anti-Asian hatred is going to be coming from white females, every time.

    It’s unbecoming, and baseless, for white females to have anti-Asian hatred. A vague sense of superiority perhaps, as expected.

    Hatred goes too far.

  52. Anon[273] • Disclaimer says:

    Our white Western elites used to like classical music. Nowadays, they think rap musicals like Hamilton are high art. Our elites have become tasteless because they have become enraptured with negrophilia.

  53. Jmaie says:

    Can’t figure it out, seriously.

    In the time since feminism reared it’s ugly head, American women have grown ever more disagreeable (and fat). Asian women have not…

    • Replies: @anarchyst
  54. whites today are so colonized by Jewish Power

    no, by Luxembourg power!!!

  55. anarchyst says:

    There is a certain amount of truth to what you say about SOME American women. They have been so infected with feminism that they lose sight that a relationship involves “give and take” between BOTH parties and that compromise is a necessary component of ALL relationships.
    Women who have been infected by feminism declare that “they can do (and have) it all”, but nothing could be further from the truth.
    The happiest women are those who recognize that raising and nurturing children, bringing stability the family structure (notice that I did not say “unit”) is an essential part of the advancement of all humanity.
    Presently, the scales are skewed in the feminist movement’s direction, being extremely toxic to any stable relationship.
    Asian women can be just as vicious as white women, but in most cases treat their partners with more respect than white women. They seem to recognize that men DO have fragile egos when it comes to relationships and “know when to hold ’em and know when to fold ’em”.

  56. As a few other commenters have noticed and remarked upon, this article combines rank ignorance about the history and development of Western art music with an analysis of present-day performance and instructional trends that is mistaken, careless, and shallow.

    With respect to shallowness, I was struck by the author’s pointed reference to “shallow status-obsessed Asian parents who want to show off their kids as entrants into respectable society by playing high-brow music for rich, privileged, and educated snobs.” Since what little I know about Amy Chua and her book* is entirely secondhand, the author might well have correctly pegged Asian parents in toto.

    Yet even if he has, so what? Of far greater significance is that his comment’s petulance reveals his failure to see that a properly functioning society, a morally, intellectually, and culturally sound society, must accommodate a segment that consists of rich, privileged, and educated snobs in whom the cultivation of profound delight in highbrow music is one of several essential components!

    Will he ever grasp this? Whatever the answer, no useful purpose is served by empty banter about ornamental details with an author who confuses ornaments with fundamentals.**
    *The childish and spitefully vulgar alteration of Chua’s title suggests that the author lacks talent and perseverance and envies the success and celebrity that, deservedly or not, Chua has gained.
    **Surely one of the fundamentals is that, at its core, the problem and the danger lie with society’s real masters, the Jews, rather than with the Asian musical upstarts that (((they))) have thrust upon us and actively promote as one weapon of many in their longstanding and ongoing campaign to effect total and permanent deracination of white Christians from the culture and civilization their ancestors built largely in the face of active Jewish opposition.

  57. Atle says:

    That was a serious free-association thought treat.

  58. DW says:

    There are newly composed art songs (kunstlieder) on Korean mainstream FM radio every day of the week (93.1 KBS Classic). Lyrics in Korean, music composed in a 19th century Western style by a living person.

    The city of Seoul has probably a dozen presentable professional orchestras, including a couple of world-class ones.

    The average Korean middle school child probably knows (and can play) more classical music than the top 20% American adult.

    The average Korean adult has probably forgotten more about Western classical music than their American counterparts ever knew or will know.

    Good for them. No skin off the West’s nose. Try your theory on something you know a bit more about.

  59. the Jews first tried to destroy western classical music via (((Schoenberg))) and his anti-melodic 12-tone system. That drove away most of the white audience and poisoned composition…

    but enough survived to enable some live performance and recordings of past masterpieces to continue.

    now, by Blackening performance, the Jews are attempting to kill this too.

    when the Eternal Jew is done, there won’t be a single White person or artifact of White western civilization remaining. Not a symphony, not a painting, not a book.

    as for metronomic asian performers of White classical music, they – with a few individual exceptions – have no feeling for it and cannot play it as it was meant to be heard. Yuja look-how-fast-I-can-play Wang? I’d pay to not hear her butcher Rachmaninoff ever again.

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