Wed, 28 Mar 2007 15:33:14 +0000
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Iskender Savasir writes:
>There seem to be several un- or semi- stated assumptions running
>through this thread. .. esp. the prejudice (excusethe term) agains
>"cross over". Would people care to expound on what is
>wrong with "cross over" or "fusion"?
A good many of today's composer chat groups hover on this topic, but
the nut is otherwise: advocating greater openness to include many kinds
of music within the new-notes mix. Where - if at all - do we place
boundaries? It's a composer's issue that doesn't go away.
In fact, working out just what one's personal style is nowadays is tough
-- much harder than in Stravinsky's time. In a world where pluralism
and tolerance to all viewpoints are espoused (even if only via lip-service),
the question for a creator of what is *genuine* becomes quite complicated.
I've written about this several times (see for example "The Matter of
Style" in the American Music Center's online magazine, NewMusicBox:
http://www.newmusicbox.com/article.nmbx?id=4767).
External pressures to bow to the collective fancy play havoc with a
composer's slow process over time to refine, refine, refine her own
artistic language.
~ NB My just-released CD -- Prestidigitations - Contemporary Concert
Rags by J. L. Zaimont (MSR Classics) -- is not a cross-over project.
I've written ragtime on the side for more than 30 years, all the way
through my concert composing career.
Judith L. Zaimont
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