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.
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.”
In my previous post about tools for the 21st Century Musician, I discussed improvisation as probably the most useful tool musicians can be using. In a way, technology is even more indispensable. Unless our voice is our primary or only instrument (and even then there are exceptions), then nearly everything we make music on is the result of some level of technology. Whether we’re talking about the technology of carved bone flutes and dried skins over a wooden frame, or the highly advanced craft that luthiers use to carve/mold stringed instruments, or the ability to build circuitry or program for electronic instruments or computers, there is always some level of technology involved in the making of musical instruments.
Soundpainting is a kind of live composing sign language created by New York composer Walter Thompson in 1974. Designed for musicians, dancers, actors, poets, and visual artists, the Soundpainting language consists of roughly 1200 gestures that are signed by the composer/director who is known as the Soundpainter. Soundpainting differs from the late Butch Morris’ Conduction (created roughly around the same time) in that the gestural language of Soundpainting is more general and is designed to be used by non-musicians.
So, why aren’t you in a band anyway? One of the things I think all Classical Music students (especially performers) should be required to do is play in a band. No, this doesn’t mean they should take up a guitar, bass, drums, or sing. What this does mean is that it should become an integral part of the performing experience–even if for just a semester. Learning the ropes on how to put together a set, getting booked, and dealing with a non concert hall type of venue would do more for teaching kids about the business of music than a class would, I’d think. Along the way, students would also be able to dispel a lot of myths about the Pop Music scene that we romanticize as a result of media representation or unrealistic portrayals of the industry through engagement with big name Pop Superstars.