Re: gilded script on the inlay

[Lori Cahan-Simon <l_cahan...>]

Stuart,

lipkowitz (at) aa(dot)edu wrote:

>I think that they are not only modern catalysts, but, rather, the way in
>which music and art grows and changes--particularly as it crosses borders.
>
>
>Isn't bluegrass the "failure" of white, southern musicians to play Jazz
>"correctly."   
>
I'm not sure I understand you here about bluegrass.  It doesn't come 
from jazz at all, as far as I know.

> Early Western, classical music might be thought of as a
>botched attempt to reproduce Islamic art music. 
>
Would you elaborate on this, please?

>I'm not suggesting that
>anything is permissable.   Art needs stability and tradition as well as
>innovation.  But the agent of innovation is often error.
>Stuart
>
>>-----Original Message-----
>>From: Seth Austen [SMTP:klezmusic (at) earthlink(dot)net]
>>Sent: Friday, January 18, 2002 10:26 AM
>>To:   World music from a Jewish slant
>>Subject:      Re: gilded script on the inlay
>>
>>on 1/16/02 11:17 AM, Joshua Horowitz at horowitz (at) budowitz(dot)com wrote:
>>
>>>Kick me for saying this, but there may be something to be said for the
>>>modern agents of change, which include
>>>
>>>mis-remembering verses; mis-learning tunes from written rather than
>>>
>>sound
>>
>>>sources; mis-interpreting texts and generally missing the point.
>>>
>>>All of these are genuine catalysts of change, and whether we choose to
>>>accept them as valid or not, they are an inseparable part of the modern
>>>musical landscape. And most of the "mis-whatevers" were probably
>>>
>>formerly
>>
>>>also catalysts for musical change and variance. Again, kick me for
>>>
>>writing
>>
>>>this Judith. Really.
>>>
>>Josh,
>>
>>This is a great point! I think there are many instances where we learn
>>from
>>a flawed source. Once people started recording music into a three minute
>>medium of 78's for distribution and sale in a commercial marketplace, that
>>completely changed the tradition as it had previously existed. And yet we
>>all gather around our coveted sound reproduction devices, hanging on every
>>note of these reissues as wisdom handed down from on high. As well we
>>should, I might add. But our sources are not accurate resprentations of
>>what
>>the music sounded like at a Jewish wedding, or a Saturday night house
>>party
>>for that matter. They are accurate representations of what it sounded like
>>in a recording studio, with a producer telling them, no don't do it that
>>way, do it this way instead. No, that song of your repertoire isn't Jewish
>>enough, or blues enough...
>>
>>Many ethnomusicological recordings can also reflect the bias of the
>>collector. How many collectors didn't record something because it didn't
>>support a point they wished to make?
>>
>>OK, you can all kick me too.
>>
>>Seth
>> 
>>-- 
>>Seth Austen
>>
>>http://www.sethausten.com
>>emails: seth (at) sethausten(dot)com
>>klezmusic (at) earthlink(dot)net
>>
>>


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