The Society for Music Theory (SMT) remains a starkly male-identified society. According to the SMT’s 2019 annual report on demographics of its membership, 33% of SMT members self-identified as women—a figure that has not changed significantly over the last five years—in comparison to 51.2% of American Musicological Society members in 2017 and 52.2% of Society for Ethnomusicology members in 2014, the most recent data available. The NORC Survey of Earned Doctorates indicates that in 2018, only 20% of U.S. Ph.D.s in music theory and composition were women, a decrease from 26.4% of the period 2013–16; the previous five-year period was 18.9%. The paucity of women, trans, and non-binary gender music theorists over many decades should be a huge concern to the Society. Demographic diversity is not only an issue of equity, but also yields innovation in research that enriches the field. Drawing on insights about disciplinary constructions of gender and race by women scholars and scholars of color in classics and philosophy, experiences shared by women in music theory, an interview I conducted with composer and theorist Milton Babbitt, and the archive of music theorist and pianist Patricia Carpenter, this article proposes that we rethink what gets to count as music theory, become aware of discriminatory attitudes and behavior towards those who are not men, white, or heterosexual in the field, and take action by reshaping the field into one that supports those who wish to be part of it.

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音乐理论协会 (SMT) 仍然是一个以男性为特征的社会。根据 SMT 2019 年会员人口统计年度报告，33% 的 SMT 会员自我认定为女性——这一数字在过去五年中没有显着变化——而 2017 年美国音乐学会会员的这一比例为 51.2%， 2014 年 52.2% 的民族音乐学会成员，最新数据可用。NORC 获得博士学位调查显示，2018 年，只有 20% 的美国音乐理论和作曲博士是女性，比 2013-16 年期间的 26.4% 有所下降；前五年期间为 18.9%。几十年来，女性、跨性别和非二元性别音乐理论家的匮乏应该是协会的一个巨大关注。人口多样性不仅是公平问题，但也产生了丰富该领域的研究创新。借鉴经典和哲学领域的女性学者和有色人种学者对性别和种族学科建构的见解、女性在音乐理论方面的经验、我对作曲家和理论家米尔顿·巴比特的采访，以及音乐理论家和钢琴家帕特里夏的档案Carpenter，这篇文章建议我们重新思考什么才算作音乐理论，意识到该领域对非男性、白人或异性恋者的歧视态度和行为，并采取行动，将这一领域重塑为支持那些谁希望成为其中的一部分。