TRADITION, AUTHENTICITY, AND CONTEXT

The validity of these ideas in a post-modern

world.

RECAP. OF TRADITION

Culture is flexible, tradition is not.

Classical music and Japanese Gagaku music are rooted in

tradition.

Jazz and Indian raga are cultural, and more able to be changed.

Static Tradition vs. Constant Flux as a continuum to measure

the stylistic freedom of these forms.

The method of transmission has much to do with the

continuum.

RECAP. OF AUTHENTICITY

“The quality of being genuine, being true to

oneself” (Socrates)

A personally chosen self, as opposed to one’s

public or heard identity (Kierkegaard)

In music Authentically has been strongly

associated with “historically correct”

Should these terms be combined? (page 48 quote

1)

AUTHENTICITY 5 WAYS

Which ones do we do? Which ones do we ignore?

Following ancient scores or canon

Using period ensembles (tuning too)

Re-creating the setting where and when the music was heard

Using historically informed technique to play or sing

Aiming at sincerity of expression, capture the essence of the

style

Reconstructed vs. New Identity

CONTEXT

Do you need to listen to music in it’s original context only

for it to make sense?

Is it possible to listen to music of other cultures without

this context?

Is it better to recreate a context that people may not

understand, or make it more relatable for the performers

and listeners?

“Origianal” Context vs. Recontextualization

POSTMODERNISM

We live in a globalized and postmodern world.

Societies have been united and divided by the internet and global

communication in ways that will take decades to fully realize.

Writing Baroque music is socially acceptable now as it was in the

1600’s

So is writing authentic 1980’s Chip Tunes and Circus Punk.

What might this mean for us as educators in regards to

authenticity and tradition?