In this paper I show that the slow progress of diversifying the core theory and aural skills curriculum is a result of the commodification of the repertoire, theories, and analytical skills that we study and teach. As Christoph Hermann (2021) argues, commodification is a process that leads from a good/service being given a price (like the introduction of a textbook) to a situation in which the actual content of the good/service becomes subject to change in order to minimize the costs of its own production (like the rigidity of the curriculum guiding an advanced placement course-to-test pipeline). I show how this process has shaped our discipline, leading to an alienation, deskilling, and/or disempowering of instructors. The paper ends with some examples of how we might overcome the barriers created by commodification and, in turn, make music theory more diverse, inclusive, and accessible.