Perspectives on cultural appropriation in classical piano music: A brief analysis of select works spanning the 17th to the early 20th centuries

In the industry of classical music, the discourse surrounding cultural appropriation has been negligible to non-existent or reduced to mere exoticism; a fascination with the ‘Other’. Only in recent years, many of the modern-day composers have been receiving the brunt of reprimand when their acts of appropriation have led to poor cultural advocacy. This paper analyzes of select piano works spanning the 17th (1600) to early twentieth centuries (1910). I will explain where cultural appropriation has occurred in these works, its nuances and repercussions. Reviewing Scarlatti and Spanish flamenco music, Mozart and Turkish Ottoman mehter music, and Debussy with Javanese gamelan and African-American ragtime, we find Scarlatti on the side of good cultural advocacy, Mozart on the poor side of cultural advocacy, and Debussy on both sides of this continuum. Also discussed is how poor cultural advocacy affected minority musicians of the 20th century and beyond. This document reveals that while not all appropriation is bad, it has been occurring for centuries. We must acknowledge appropriation is all its forms and should no longer support the narrative that cultural borrowing is mere exoticism. It must be addressed alongside appropriation. Although we may not be able to change the past, through three thematic principles Acknowledge—Decenter—Care pianists, composers and pedagogues can utilize anti-racist methodology to move forward. Facilitating the dissemination of piano music that is not only of high artistic merit, but most importantly, safeguarding the highest degree of cultural advocacy toward the affiliated cultures.