Music Imperialism
Europe,
this Asian peninsula, has in a surprising way spread its "culture"
- that is, way of living, technology and economic practices - across
the globe. Here I will not go into all the racist delusions that have
since been used to explain this phenomenon, but just point out that
also (or just?) racist scientists believe that on average, Asians are
smarter than Europeans…
That
technology, of the here and now brutal-superior kind, wins over the
more traditional modes of production is not surprising as economics
and warfare have been and still are largely interconnected
Also
in the field of "arts" many areas are closely linked to
earnings and marketing. Therefore it is not surprising, that f.x. "Hollywood movies" have gained the popularity they
have. They earned so much that many countries try to emulate them and
make "Bollywood" - surprisingly not exactly in Europe,
because here we have taken the American Hollywood films to our hearts
as an extension of our own cultural experiences and norms inflated to
cinemascope by US economic capability.
However,
after this probably cumbersome introduction, I want to get
into the subject that has my special interest: the so-called "classical"
music. It has survived for a very long time and it is an admittedly
prestigious but commercially only moderately successful genre of art.
One has to give in, that famous classical musicians, concert organizers and
well-established music media distributors make real money, but
compared to popular music in all its genres, the profits are
ridiculous compared to the efforts of the performers and the
investments - especially from the public.
The
strange thing is that this form of art, in its very European design
and expression, has gained a foothold in almost the whole world, at
least with the cultural as well as the political elite.
European
classical music gained its "imperial" significance, as the
art music of the churches with a twist towards the worldly moved into
the principalities, to entertain and impress the rulers. However,
court music is by no means a purely European phenomenon, but
certainly existed in Asia as well.
Yayue
(Chinese, literally: 'elegant music') was originally a form of
classical music and dance performed at the Imperial Court and in the
temples of ancient China. Along with the laws and rituals, this form
of music contributed to the formal representation of the aristocratic
political power.
Yayue
was considered by Confucius to be the kind of music that is good and
beneficial, in contrast to the popular music which he considered
decadent and corrupt.
Court
Yayue has largely disappeared from China, although modern attempts at
its revival exist. In Taiwan, Yayue is performed as part of a
Confucian ceremony and in China in a revived form as entertainment
for tourists. Other forms of Yayue are still found in parts of East
Asia, notably "gagaku" in Japan, "aak" in Korea,
and "nhã nhạc" in Vietnam. Although the same word is
used in these countries (but pronounced differently), the music does
not necessarily correspond to Chinese Yayue. However, the Korean “ax”
preserved music elements that had for long been lost in China.
(source: Wikipedia)
Accordingly ,
this aristocratic Chinese/Asian style of music has almost vanished. It has been "ousted" or replaced by classical
music, which is either purely European or strongly influenced by
European music style.
However
recent classic Asian compositions may sound, they are mostly performed by
musicians and orchestras who use throughout European/Western
instruments and clothing style:
China
National Symphony Orchestra
All
this equipment, all that demanding training of musicians, the
construction of concert- and opera houses to cultivate a
fundamentally very Western/European culture WITHOUT real
opportunities or expectations that this efforts will pay off or be
yielding "political" returns in form of increased
popularity or respect… what is this about then ... or where is the
explanation?
After
all, in the reign of emperors, kings, and counts they could content
themselves with lovely sonic experiences that were otherwise
inaccessible. If those noblemen themselves were unmusical, they at
least impressed their like-ranked guests with full-fledged musical
splendor delivered by virtuoso soloists and well-trained orchestras
who could, if desired, accompany ceremonies as well as dinners.
But
today? If you like symphonic or other classical music you can easily
listen to it from a luxury electronic device performed by the finest
artists so that your experience a musical quality by far exceeding
the abilities of a "state orchestra" in a third world
country.
MUSON
Symphony Orchestra, Nigeria
If
I should venture some kind of explanation then it must be
two-stringed, where I first throw myself onto the sociological
string:
From
the moment classical music moved out of the royal court into the
bourgeois homes and into the concert halls it was taken over by a
bourgeoisie who could not only maintain but even promote it in
coordination with the urbanization and technological and economic
development that particularly characterized the 18th and 19th
century. Because this bourgeois "revolution" first took
place in Europe, it has since become THE model for development. The
organization and expression of music then came along with it as part
of "the civilization development package" .1
And
here comes the second string of my explanation, which is more music
internal: The development that musical instruments and composition
took in European music, inextricably made it stronger in expression
and more potent in sound than anything else other contemporary
cultures could offer.
Since
then, this "classic sound" entered theater performances,
first in the form of opera, then operettas and musicals. Furthermore,
the European "audio formula" in the shape of film music
then penetrated throughout the world. At the same time, being a
performing musician in the well-established music institutions of the
state and/or the bourgeoisie became a completely different way of
life, now attractive to musical people who wanted to live a civil and
respectable life - opposed to popular music, which usually either
offers short-term fame in a hectic life or a more or less "sub
cultural" identity on the edge of society.
Conservatory-trained
musicians can beside to or instead of performing music teach in
public and private institutions, thus maintaining a music environment
for people interested in classical music both as experience and as an
integral part of education. It is noteworthy in this context, that,
despite its proximity to bourgeois culture, classical music is
usually appreciated and promoted by both authoritarian and
revolutionary regimes, which makes me think that many cultural
politicians, regardless of political observance, on their way through
education to influence have apparently been infected with an interest
in classical music.
Usually
in the context of European composers such as Mozart and Beethoven and
typically performed by orchestras, ensembles and choirs (rather than
bands), classical music also in Africa has for long had a loyal
following. With roots in colonial times, classical music has
continued to be performed, composed, taught and consumed in many, if
not all, African countries since independence.
Sometimes
this does not stray far from the European originators; in other cases
African composers and musicians have crafted a distinctly African
brand of classical music, drawing on traditional and even
contemporary popular influences.
Classical
music has been written off in some parts of Africa as an 'exclusive'
or 'elitist' genre. But it is necessary to recognize the role of
classical music in Africa, especially in education. Many musicians
start with formal training in classical music before moving to other
genres.
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