I do a lot of covers. In a sense, I spend most of my musical life doing covers. Playing a Beethoven Symphony? Cover. Playing a 14th century Turkish Mevlevi song? Cover. Playing a piece I wrote? Cover.
“But you’re playing an original tune, not a cover,” you might say. Well, as I’ve been saying for the past couple of decades, “If you’re not improvising in real time, then you’re just covering yourself.” In other words, “Original” music can also be “Cover” music.
Continue reading “There are covers and then, there are Covers”
When I blogged some time ago about music literacy, I mentioned the tired trope “I like to everything except Rap and Country,” which seems to be a response given when someone wants to show a cosmopolitan or open musical taste. Plenty of pixels have been typed about the class and race issues associated with the phrase and I won’t rehash them here as I think that only tells a part of the story that the phrase frames.
Continue reading “The Parochialism of “Everything Except Rap and Country””
One of the things that is striking about the early accounts of Classical Music is how provincial it was. Until the 20th century we didn’t really conceive of Classical Music as one unified field. In other words, there was a lot of diversity in the genres and repertoire performed. This coincided with what we could call a fragmented audience along ethnic lines for various genres and repertoire.
Continue reading “All Orchestras are Ethnic Orchestras”
There’s such a problem with Eurocentric terminology when discussing analogues to a Western institution found in other cultures. That’s no different than with orchestras. I’ve used the phrase “Ethnic Orchestras” in reference to large ensembles modeled after the European-styled Orchestra (e.g. Traditional Chinese Orchestras), but at the same time, some of these large ensembles are definitely found within European countries (e.g. Mandolin Orchestras).
When I’m referring to large ensembles that have had little connection to the European-styled Orchestra and that are native to countries (e.g. Gamelan) I usually call those “Non-Western Orchestras.”
Continue reading “The Other Orchestras (part 1): Ethnic Orchestras”
Since I’ve been collecting data on Orchestras in the US I’ve come across a bewildering number of types. Contrary to the idea that a Modern Orchestra is simply the culmination of an early-19th/mid-20th century Anglo-European styled large ensemble designed to play repertoire that requires large forces, the orchestra never stopped evolving. My previous post was about how the field is alive because it’s still constantly evolving. This post is a just a brief summary of how Orchestras have evolved since the early 20th century. For relevant links to my lists of some of the types of ensembles, just go to the navigation bar above.
Continue reading “The many types of Orchestras…and how they have evolved”