Abstract

This article describes how admissions auditions at schools of music may demonstrate and participate in what critical race theorist, Gloria Ladson-Billings, calls the full social funding of race. Julia Eklund Koza argues that the construction of musical difference, which is an effect of power and is accomplished by the materialization of styles of music, plays a role in the systemic inclusion or exclusion of people whose bodies have already been raced through a similar process of sorting and ordering. Focusing on the equity implications of an access conundrum that is making many public colleges and universities more exclusionary, Koza advocates listening for Whiteness in admissions processes, not to affirm it, but to recognize its institutional presence, understand its technologies, and defund it.