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So far I have heard a similar story from all composers from Asia, Africa and Latin America studied in the West: they only came to class through the entrance examination because they had learned the eurological tradition perfectly. Very soon after their first few hours, the teachers unequivocally asked them to deal with the traditional music of “their” culture. It was made clear to them that without this "authentic" color, their "eurological" music could look like an imitation. Somehow, these teachers seem to be essentially composing for violins and trumpets for people with white skin and European-sounding names. Everyday racism of this kind is common at music academies and in the music business - it is even increasing with increasing awareness of colonial oppression. Here too, half knowledge is almost more dangerous than ignorance.