The art and music of Western civilization have gone through a transformation that mirrors the modern transformation of community. Instead of the rich and varied tapestry of art forms and people—the products of subsidiarity—we suffer from a monotonous regularity. Not to worry, say the foppish multiculturalists; this lack of variance is actually “diversity.” Diversity, as it resounds through the Dewey camps of education as well as society at large, really means conformity.
This conformity has resulted from the alien presence known as “man”—a caricature of real men and women that is neither American, nor European, nor of any nation or culture save that of the globalists’ nightmare.
As some men believe that nations can be created by drawing lines on a map, so many of the celebrities of modern music have embraced the idea that music can be created simply by placing notes on a staff. As some men have devolved their own national and cultural particularities, some music has preceded apace, glorifying an abstract universal that is alien to any nation or culture. How fitting that a world that only acknowledges superficial cultural differences and wages war to enforce artificial borders should produce music that, at best, chirps happily about diversity in Esperanto.
In the 19th century, small and functional...