[Smt-talk] Theory of "Intercultural" Composition
Daniel Wolf
djwolf at snafu.de
Sun Apr 26 08:40:33 PDT 2009
On Fri, 24 Apr 2009 20:17:55 +0200, Ildar Khannanov <solfeggio7 at yahoo.com>
wrote:
> Yes, I agree, then, with Fyodor, there have been some problems with the
> transcultural music and musicology and we are now solving them.
The nature of the "problem" needs to be specified a bit more, but, however
specified and now putting on my ethnomusicologist hat, I'm highly
skeptical that we should be talking easily about its solution!
To a certain extent, cross-cultural borrowing is so much a part of music
making that one need hardly remark about it when encountered. For J.S.
Bach to reference French or Italian styles is one form of such norrowing,
and Telemann's poularization of Polish dance forms was perhaps the
earliest in an unbroken series of popular enthusiasms for musical exotica,
including the rage for the Janissary style (itself including Turkish
enthusiasms for African musical traditions) in the classical era. (A very
useful exercise is to read the earliest pan-European music histories, like
Burney or Martini, as ethnomusicological records). Henry Cowell's plea to
UNESCO for "hybrid musics" was perhaps, ultimately, a realist position,
recognizing that most musics are hybrids in origins.
(That said, it is important to distinguish between affinities for musics
outside of ones own tradition and actual hybrids. Debussy's positive
impression of a gamelan (in all likelihood a madenda (western natural
minor scale) instrument played by Sundanese musicians) receives notice in
all manner of standard reference works and even in national music
curriculae, and is often described as "influence", yet there is not a
single example in the works of Debussy subsequent to the encounter
evidencing a direct borrowing in terms of melody, rhythm, instrumentation
or even, most broadly defined, texture from any known Sundanese or
Javanese musical repertoire. Debussy, based upon works he had already
composed, had an affinity for gamelan, recognized similar tonal and
textural concerns, but was not concretely influenced by the music.)
Our contemporary concerns, both technical/methodical and ethical are
probably mostly intimately connected with the experience of nationalism in
music. The assertion of musical identity, and specifically an otherness
with regard to highly esteemed traditions is naturally a sensitive
issue. What does it mean to take local "folk" materials and imbed them
in the instrumentation, voice leading, forms and textures of the
heretofore privileged "classical" styles of the previously hegemonic
traditions? Doesn't this simply preserve the position of power, prestige
and modernity associated with the hegenomic traditions? Alternatives
viewpoints do come, however, in near parallel, in the early 20th century,
with the French tendency to "frame" ethnic materials in such a way as to
emphasize distance, with Bartok's clear initial position that folk musics
were to be investigated as a direct material source of new musical ideas
rather than as an expression of a particular national identity, and the
more complex relationship to Russian materials used by Stravinsky (and so
brilliantly treated by Taruskin). (Another interesting approach was that
of the Berlin-trained Japanese musicologist and physicist Tanaka Shohei,
who attempted to derive a complete system of cadential voice leading based
upon traditional Japanese tonal materials).
The present situation is even more complex, and particularly so due to the
plasticity of musical materials available in recorded form. Context,
unless one is ethically committed to it, now may well mean nothing rather
than everything. Borders -- whether geographical, political,
sacred/secular, serious/popular etc. -- are erased with the ease of copy
and paste editing, not to mention mixing and montage. Stockhausen's
_Telemusic_ is perhaps the most thorough example of an assertion, both
theoretical and practical, by a composer that any other music might be
subsumed to his own. This contrasts strongly with the approach of Cage in
his _Roaratorio_ in which the music chosen was strictly on the basis of
connection to the immediate project (not a larger theoretical scheme) and
each of the participating musicians was involved voluntarily and received
compensation for their participation.
This is a large and difficult topic and these notes are necessarily
sketchy, but may I suggest an interesting, and music theory-intensive path
into it? What happens when we take the local theoretical and
compositional traditions seriously before jumping into a project of
synthesis with western classical musics, and what kind of charge does that
seriousness bring to cross-cultural composition? Marc Perlman's study of
tonal theory and pratice in Central Javanese music is one example that
theorists might usefully pay more attention and Michael Tenzer's _Gamelan
Gong Kebyar: The Art of Balinese Twentieth-Century Music_ likewise begins
with the premise that the music practice in question has a sophisticated
theoretical tradition, in this case more associated with orchestration.
Building on Colin McPhee's landmark _The Music of Bali_, Tenzer raises
profound issues about the nature of an orchestral music, both
specifically, in Bali, and in general, the relationship between
traditional and innovative materials, and the formal invention of Balinese
composers in their orchestral works. Tenzer, himself a composer, and many
of his colleagues in the Balinese music scene (Wayne Vitale, Dieter Mack,
Evan Ziporyn) have created a large number of innovative works, alone, and
in cooperation with Balinese composer colleagues. It's a very interesting
and musically exciting scene and one less burdened by post-colonial or
post-imperial relationships.
Daniel Wolf, PhD
composer, Frankfurt
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