The last two decades have witnessed a dramatic rise in dissertations, theses, and other academic publications exploring hip-hop music, while college courses on hip-hop history have become commonplace. The growing prominence of hip-hop music in our curricular and research agendas, however, does not necessarily make the study of music at colleges and universities more inclusive. In fact, the increasing attention musicologists and music theorists are paying to rap paradoxically threatens to shore up the value of whiteness in the discipline. This contribution addresses the problem by seeking answers to three interrelated questions: (1) What can the incorporation of hip-hop teach us about the challenges of ‘diversity' in music departments primarily devoted to the study and performance of Western classical music? (2) Does the work of non-Black scholars who write about music made by Black bodies contribute to the freeing of those bodies, or merely represent yet another way that they are consumed by white supremacy? (3) How can popular music studies help to overcome ongoing racial inequality within schools and departments of music? The arrival of hip-hop in music departments represents an opportunity to move in bold new directions. If we want to create a more just future for musicology and music theory, then the study of hip-hop in these fields will need to be accompanied by efforts to introduce forms of ‘significant difference’ that transform our respective disciplines as well as the institutions within which we work.

中文翻译：

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新校领导？音乐系、嘻哈和显着差异的挑战

在过去的二十年里，探索嘻哈音乐的论文、论文和其他学术出版物急剧增加，而嘻哈历史的大学课程已经变得司空见惯。然而，嘻哈音乐在我们的课程和研究议程中日益突出，并不一定会使高校的音乐研究更具包容性。事实上，越来越多的音乐学家和音乐理论家对说唱的关注自相矛盾地威胁着加强白人在该学科中的价值。该贡献通过寻求三个相互关联的问题的答案来解决这个问题：（1）嘻哈的结合可以教会我们什么关于“多样性”的挑战 在主要致力于西方古典音乐的研究和表演的音乐系？（2）非黑人学者撰写关于黑人身体音乐的作品是否有助于解放这些身体，还是仅仅代表了他们被白人至上主义吞噬的另一种方式？(3) 流行音乐研究如何帮助克服学校和音乐系内持续存在的种族不平等？嘻哈音乐在音乐系的到来代表了一个向大胆的新方向发展的机会。如果我们想为音乐学和音乐理论创造一个更公正的未来，那么这些领域的嘻哈研究将需要努力引入改变我们各自学科和机构的“显着差异”形式我们在其中工作。