b'The use of music in Dominique Morisseaus Detroit 67. Jithya later weighs musics ability to improve interpersonal connections:Sabina Strich talks about emotional noise and how it can be symbolised and Jithya Wijesinghemade audible in music when assessing the relationships between individuals in a group therapy setting (Strich 1983: 21). Strich implies that emotional noise is the In this essay, Jithya Wijesinghe examines the use of music as both a separat- silent understanding individuals have when listening to someone speak in a group ing, and connective tool, in Dominique Morisseaus Detroit 67.therapy context, and I believe something very similar happens later in the play between Caroline and Lank when they see each other for the last time, before Car-The play is set during the 1967 Detroit Riots, sparked by a violent police raid on anoline runs away. Lank plays Everybody Needs Love by Gladys Knight and the Pips, unlicenced bar hosting Vietnam veterans. Dominique Morisseau aims to centre aand, upon listening to the music, asks Caroline You feel that, Caroline?, to which personal narrative that highlights longstanding racial tensions that led to the racistshe responds with YeahI do (Morisseau 2018:176). This interaction police brutality and systemic discrimination for Black residents, such as Lank.assumes that there is a silent emotional understanding and communication The playwright uses music to subtly highlight the racial distinctions between Lankbetween the two, echoing Strichs example. However, despite the characters being and Carolines characters. Despite Carolines suspicious nature and reluctance tosilent, the music vocalises Lanks thoughts through its lyrics; the singer begs the reveal her true intentions, Lank and Caroline form a dangerous attraction to eachlistener to let them be loved by the singer, almost as if this is Lanks plea to other. The racial differences between them are emphasised in the scene when theCaroline. This is an example of music, specifically its lyrics, being an effective tool two are alone in the basement discussing music and they discover that they likeof communication, and is supported by Deanna and Timothy Sellnows notion that the same musicians. In a study conducted by Jan McCrary, McCrary found that inmusicians present an illusion of life, amplifying a particular perspective of a a group of white subjects, they showed a decrease in own-group preferences [ofsituation (Sellnow & Sellnow 2001: 399). In the stated scene, the characters music] after age 7 whilst in a group of black subjects, they developed an increasesilence allows the lyrics of the song to voice and amplify Lanks desire for Caroline in own-group preferences and a decrease in other-group preferences (McCraryto stay and be loved by him. The authors explain that some music can offer con-1993: 201). This trend is emulated by the conversation between Lank and Caroline,gruent release patterns within all the components of music and lyrics, and this as Caroline shows an affinity towards black music, much to Lanks surprise. Lankcongruity makes the musicians message more poignant (Sellnow and Sellnow implies that he assumed Carolines taste in music would be more white-centric,2001: 409). This is similar to what Morisseau does in the scene: placing a song stating that he would not have taken her as a lover for negro music (Morisseauwhich echoes Lanks true feelings for Caroline gives the song more emotional 2018: 152). As their conversation continues, Morisseau reinforces the study bygravitas, thus enhancing the connection between the two characters, as well as highlighting that, even though they share a very similar taste in music, the pair stillthe poignancy of the moment.reflect the results of the study: Lank, a black man, has an affinity for his own-group preferences, while Caroline, a white woman, has an affinity for other-group preferences. Bradley, D. (2007). The Sounds of Silence: Talking Race in Music Education. Action, Criticism & Theory for Music Education, 6(4), 132-162. Lanks prejudices toward Carolines music taste can be questioned, as he admits that he thought Caroline listened to those ol classical cats. Beethoven or Chopin.McCrary, J. (1993). Effects of Listeners and Performers Race on Music Prefer-These preconceptions may be drawn from societal stereotyping through educa- ences. Journal of Research in Music Education, 41(3), 200-211. tion, as Deborah Bradley states in her article, music education curriculaMorisseau, D. (2018). Detroit 67. New York: Theatre Communications Group.continue[s] to validate and recognize particular (white) bodies [] and to invalidate many more through omission. (2007: 134). Bradley continues by stating that theSellnow, D. and Sellnow, T. (2001) The Illusion of Life rhetorical perspec-focus on Western art music in such music programs sustains institutional focus ontive: an integrated approach to the study of music as communication. Critical white culture, and she claims that music education students come to believe thatstudies in media communication, 18(4), pp. 395415. music of the European canon is superior, and thus the most [] appropriate for ed- Strich, S. J. (1983). Music and the Patterns of Human Interactions. Group ucational purposes (2007: 149). Perhaps this is why Lank thinks Caroline fits intoAnalysis, 16(1), 20-29.the stereotype of the white community and their musical tastes, as it is a notion that is practiced in educational settings too.26 27'