| Sumario: | Dismantling U.S./Canadian music theory's white-male frame requires the field to commit collectively to intellectual projects that contest the existing power structures of white supremacy, coloniality, and heteropatriarchy. I argue that entering into dialogue with ethnic studies offers music theorists the necessary vocabulary and frameworks to speak precisely, responsibly, and thoughtfully about issues of race, identity, and power, and to connect our work to broader activist movements taking place within and beyond the academy. Centering the critical methodologies of ethnic studies in music theory can therefore serve as a crucial step towards making "music theory more welcoming" for minoritized scholars.
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