Western university music schools of today seldom explore non-western means of examining music, instead favouring the harmonic style of 18th century European musicians.  I was highly engaged in Adam Neely’s video on the topic of white male supremacy in “music theory”, and western music.  As it challenged my own personal beliefs and interaction with music, it was difficult to wrap my head around the idea that in pursuing music education, I would be perpetuating white supremacist views.  My alignment with Neely’s video was chalky at times, regarding my own classical training on the tuba (seeing as it was not favoured by the “geniuses” outlined by Shenker’s list).  The turning point for my beliefs regarding the racist roots of the harmonic style of 18th century European musicians was in examining whether I felt that ignorance was grounds for evaluation.  I believe that it is the ignorance shared by an abundance of musicians regarding the narrow lens through which western music theory is taught that Is the main platform for the perpetuation of the racist and sexist nature of music education. An improved university music school of the future might include different means of examining music from different cultures, as suggested by Neely in his video.  While I acknowledge that the harmonic style of 18th century European musicians as it is today can be an arduous field, in the same way that I feel ignorance should not be an excuse for a narrow minded world view I feel that the expansion of western music education methods would benefit those studying it.  The added “difficulty” of university music courses would be justified by the broader and more inclusive material.  In regard to the provided quote, the practice that challenges “common sense intuition” on the tuba is simply acting as a melodic instrument. I personally revel in the surprise of strangers and even my peers when I play music that is not characteristically “tuba-like”.