Schenkerian analysis is literally the idea of taking out all the "hierarchically inferior" black notes from a piece of music and showing only a handful of hierarchically dominant, big, important "white notes". Of course this basic idea has nothing to do with modern notions of race, but it turns out that the visual contrast of "colors" describes the idea quite precisely. So I'm quite OK with conceding that one point to Ewell.

(It's worth noting the flip side of that argument, too - we literally have historical sources telling us "when you see a composition made of big, white notes, that will sound a lot better if the performer improvises on them melodically on the spot, keeping the overall meter of the white note" (Lorenzo Penna, Li primi albori musicali). And of course, on-the-spot improvisation has been mastered to an unprecedented degree in the modern day by the "black" tradition of Jazz!)