Music history, and history generally, is often presented as a narrative of innovation and exceptionalism. One could, I think, summarize any music history curriculum at the undergraduate level (at least in the United States) as Charlemagne, Perotin, Machaut, Ockeghem, Josquin, Palestrina, Monteverdi, Bach, Handel, Mozart, Haydn, Beethoven, Liszt, Brahms, Wagner, Schoenberg, Stravinsky. There will certainly be some other “stuff” in that two to three-semester curriculum, but - l