In light of last year's NYT 1619 project I have had some concerns that one potential obstacle to a fuller appreciation of Walker's musical art is a tendency in contemporary American music journalism at the popular level to define African American music strictly in terms of popular music. I don't mean to suggest scholars haven't been calling attention to Walker's work. I've seen a few dissertations on Walker's work, particularly his piano sonatas, get written and published in the last ten years.
But I mention the 1619 project and the somewhat clickbait headline about how "everybody's stealing" black American popular music (which I've written about at some length before) because as much as I adore the music of Stevie Wonder the music of Walker sounds more like Paul Hindemith than Duke Ellington.
Take this movement from Walker's first string quartet.
That's not "Mood Indigo". Now Ellington is another one of my musical heroes so I'm not attempting to negatively compare Walker to Ellington to Hindemith or any of them in any of those directions. I admire all three composers but there's a propensity in American writing about music to decide one or more of these have to be uncool or not hip, which, if you step back and think about it a bit, is kind of an extra-musical as well as musical way of judging the work of a musician.
Walker deserves more attention but I have been wondering whether, besides the obstacle of a default assumption on the part of people in the classical industry scene that African diaspora composers don't count compared to Schubert, is that there's a comparably pernicious prejudice on the popular music side of the divide as well. Walker used to say he regularly ran into people who assumed because he was a black pianist he had to play jazz.
Over at Colvinism there's a fun read called "`God Repented' vs Greek Ontology"
An attempt at a synopsis for those who might treat the link as a TL:DR pre-emptively, Colvin lays out a case that defenses of classical theism can default to a variety of arguments that teeter into the substance as well as the jargon of eleatic monism. Parmenides shows up in the essay, which has reminded me that my instinct to distrust just about everything Ted Gioia claims about Parmenides in Music: A Subversive History was not unfounded. :)