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- Title
Bi-musicality or Transmusicality: The Viewpoint of a Non-Japanese Shakuhachi Player.
- Authors
Deschênes, Bruno
- Abstract
That the term »bi-musicality« is still used today in ethnomusicology is a testimony of its relevance. However, the term appeared at a time when »World music« was not yet an established marker of the music world. In the 1950s and 1960s, when students of ethnomusicology were learning the music of non-Western cultures, they were more observers than they were active participants - an aspect that Mantle Hood wished to change with his notion of bi-musicality. From the 1970s on, learning the music of non-Western cultures ceased to be merely the prerogative of ethnomusicologists. Musicians from all walks of life and from all around the world started to show an interest in learning instruments from eclectic cultures. A growing number of them desire more than simply learning to play a particular music; they want to master it. With the present World music phenomenon, the term bi-musicality proves to be insufficient for understanding the growing interest in the music of other cultures. In this article, the author suggests that the term transmusicality is more appropriate for getting a sense of the interest of musicians who want to be recognized as masters of a music of which they are not native.
- Subjects
MUSIC education; SHAKUHACHI music; MUSICIANS; SHAKUHACHI players; JAPANESE music; MUSICAL performance; COMPOSERS
- Publication
International Review of the Aesthetics & Sociology of Music, 2018, Vol 49, Issue 2, p275
- ISSN
0351-5796
- Publication type
Article