Having grown up in New York City, I was raised to believe in the mythologised image of the city as a “melting pot”, a place where diverse immigrant communities coexist and commingle, uniting under a metropolitan identity; the reality is considerably more complex and for many, less rosy. Eclectic musical composition might seem to bespeak “melted” societies, but there is harsher truth behind the social forces that would rather canonise an eclectic Western composer’s appropriative works before embracing the diverse musical cultures from which those inspirations were generated. Given my background in musical performance, and studies in comparative literature and as an undergraduate at Brown University, I found fusion between my diverse interests in my graduate studies in musicology at Oxford. Now, in my doctoral research, I hope to historicise the sorts of musical eclecticism that build upon collaged, abstracted musical appropriations, especially in 20th-century France and the U.S, as well as the discourses that surround these musical borrowings. These questions are central, as my home country continues struggling to reconcile its complex multicultural reality with its "narrative" of European cultural inheritance. Finally, as an aspiring educator, I hope to advocate for the broad and interdisciplinary study of music in schools.