Still thinking about this — in a way, the attitude that says that Western orchestras should just stick to what they do best is not a bad one. The idea that a Western orchestra could have a hope in hell of presenting such diverse types of music with any real fluency — or worse, that they “should” — is an ego trip. If the African drum virtuosi can crank out polyrhythms with one hand behind their backs … then in a way why do the Western orchestras need to? I could see how the musicians would find it fascinating (especially the timpanists) but isn’t it an ego trip to treat these incredibly complex traditions like some sort of political bingo chips, or to imagine that most of the (culturally Western) members of a Western orchestra could have a prayer in hell of playing that sort of stuff with the mastery of someone who has been doing it since they were in diapers? Classical musicians are quick to say that you need to start in the womb to be able to play their stuff — well, that African drum master did just that. You can play with those tools but unless they are a part of your culture, you probably can’t touch the master’s virtuosity.
Just thinking about this — that it can either be a hallmark of ego of of humility to say that Western orchestras have a “home court” of music and will probably always be best at that kind of stuff — either because one feels that Beethoven is the ultimate expression of passion, or because the other varied traditions are simply too complex, great, and involved to master them on the side after a lifetime of training in Western music. Individual musicians in a Western orchestra may have a grounded feel for it if they come from that background, but the orchestra as a whole may not.
my response (which didn’t address everything she brought up) was:
That’s a good point. I think one of the reasons I posted this blog and occasionally about the ethnic orchestras is simply to dispel the “myth” that Western Classical is universal in any sense. Especially the way it has been practiced in the past century by focusing on the canonical warhorses.
I remember when the early music/historically informed practice movement started to get a lot of negative attention from mainstream classical music institutions–it all seemed to be a way for one population to disparage another by highlighting the legitimacy of a “correct” (and universal) way to perform classical music. I think the underlying fear is that this “correct” way is simply one of many and has now become another form of “historically informed practice” since most new music that is performed is rarely done by the SOBs–Symphony, Opera, and Ballet organizations are just another historical way of approaching a relatively narrow range of music from a particular period of time and region (primarily 19th century Europe).
To admit that there is other “great music” out there–other “great performing traditions” with ensembles and practices–would lessen the legitimacy of the one touted as featuring the “greatest” musical works of mankind–and we can’t have that, right?
So maybe it is best to let SOBs do what they do best: Specialists in one art form of many. This begs the question of what then do we mean by music education since it become untenable that by bringing back music education in the schools at the pre-college level we should be focusing on the traditional string orchestras, full orchestras, and concert bands. Then it becomes a question of Whose Art are we supporting–and once you ask that question, then you realize that there’s no reason why Western Instrumental Instruction should be the norm and we should actually be bringing relevant music instruction to communities rather than subsidizing one cultural art form over another–letting the local cultures determine what arts they value!
My question to music education advocates would be how would they feel if instead of teaching violin, and string classes we teach erhu and other traditional Chinese huqin strings as the Purple Silk organization does in the Oakland area? Or instead of teaching timpani and flute in band class we started teaching dumbek and ney as the New York Arabic Orchestra hopes to do with their new Arabic Music School? Instead of school orchestras playing German symphonies, we have them learn how to play Turkish fasıl, Azerbaijan mugham, Indonesian gamelan, Arabic waslah, or Japanese gagaku?
If the answer is that “we should teach kids how to play the greatest music of mankind,” then unless we can demonstrate that there is something greater about a Beethoven Symphony over, say, an Abdel Wahhab Waslah, the question was loaded with an ethnocentric and eurocentric bias in the first place and that percolates up to the Music Conservatory Level and then the Professional Performing Arts world level.