When a society decides racism means only judging by skin color and declares itself blind to race, prejudice doesn't vanish. It moves to what people hear, so voices, accents, music and volume are used to stereotype, exclude and even justify violence, while everyone insists race no longer matters.
Trained listeners hear a space as 'black' or 'white' from its sounds alone, even when no one is visible. So a place can call itself open and diverse while its soundscape quietly tells some people they don't belong.
White performers are praised and paid for mastering musical styles from across the racial divide. Black and brown artists and fans get locked into the genres their skin color is assumed to match, so the same crossing counts as talent for one group and a violation for the other.
Deciding which voices are 'too loud', which music is 'noise', and which neighborhoods are 'noisy' isn't neutral measurement. These labels attach to the bodies and cultures of people of color, so complaints about sound become a respectable way to police and exclude them.
Spelling out a group's speech as 'dialect' isn't a faithful record of how they talk. It is an invented device that casts them as old-fashioned, rural and ignorant, out of step with modern life. In the same way, the 'deep' voice expected of black men feeds deadly myths of threat.