The practice of music diversity is colonialized. Its model is impotent to disrupt the Western canon. On the contrary, the practice has opened the door to sonic materialization and trafficking that has become indicative of the encounter between classical music and other music traditions in higher education. The Global South has become the mining area, while Western institutions "explore" indigenous music to repair the status quo. The thesis of this article is that the current Western curricular approach to music diversity is a reincarnation of the Western hegemony. I adapted a decolonial lens to examine the premises of diversity practice, questioning its model and unmasking its logic. I will interrogate the unbalanced relationship or what Quijano and Mignolo call the "matrix of power." In doing so, I introduced a conceptual tool -- canonity, which is defined and examined alongside the concept of diversity. I argue that diversity represents the other side of canonity, just as coloniality and modernity/rationality are two sides of the same coin. This coinage suggests that musical canonity/diversity is indicative and constitutive of coloniality/modernity. Thus, the article calls for the decanonisation of the epistemic center, delinking from the trajectory of modernity/rationality and shifting the geography of knowledge.