Jazz and Karnatic Music Intercultural Collaboration in Pedagogical Perspective

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Florian Noetzel GmbH Verlag
Jazz and Karnatic Music: Intercultural Collaboration in Pedagogical Perspective
Author(s): Tanya Kalmanovitch
Source: The World of Music, Vol. 47, No. 3, The Music of "Others" in the Western World (2005),
pp. 135-160
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theworld
47(3)-2005:135-60
ofmusic
Jazz and Karnatic

Pedagogical
Music:
Intercultural
Collaboration
in
Perspective
Tanya Kalmanovitch
Abstract
Asa uniquely
intercultural
andEuromusic,
jazz hasbeenshapedbyitsjointAfrican
musical"others
." Among
these
, as wellas a hostoflocalanddistant
,
peanpatrimony
Indianclassicalmusics
ispartofthe
playa specialrole:anawareness
ofIndianmusic
andjazzmusicians
toIndian
havefrequently
looked
jazz consciousness,
contemporary
classicalmusicas a sourceofbothmusical
andextra-musical
Karnatic
inspiration.
music-longmarginalized
inIndiaandabroad-isemerging
inthetwenty
centu-first
on
aesthetic
andpedagogical
interest
injazz. Thispaperreports
ryasa siteofspecific
aneducational
MusicProgram
between
theJazzandContemporary
exchange
project
Research
andTraining
andtheBrhaddhvani
(NewYork)
oftheNewSchoolUniversity
directed
inDecember
2003Centre
(Chennai),
forMusicsoftheWorld
bytheauthor
withDr Karaikudi
S. Subramanian
2004,incollaboration
(Brhaddhvani),
January
Martin
Mueller
MusicCentre,
Dublin).
(NewSchool)andRonanGuilfoyle
(Newpark
1.
Introduction
AccountsofIndianmusic'sreception
in theWestafterIndependence
havefocused
in
all
but
the
on itsrole 1960s' popularculture.Scholarshave
ignored music'sconnectionsto Americanand Europeanjazz, whichdisplaylongerand morecomplex
musicalandculturalroots.As a uniquelyintercultural
music,jazz has beenshaped
its
African
and
as
well
as
a hostof local and distant
by joint
Europeanpatrimony,
musical"others."
Indian
classical
musics
Amongthese,
playa specialrole:an awarenessofIndianmusicis partofthecontemporary
andjazz musijazz consciousness,
cianshave frequently
lookedto Indianclassicalmusicas a sourceof bothmusical
andextra-musical
inspiration.
musicfromrecordings
andwithRavi
JohnColtranefamously
studiedHindustani
hisuntimely
and
was
travel
to
India
for
extended
before
to
Shankar,
planning
study
a
number
ofjazz mudeathin 1967.SinceColtrane'searlyandinfluential
example,
such
noted
as
Steve
Charlie
Coleman,JamMariano,
sicians-including
performers
Don
Don Ellis,
John
eyHaddad,MyraMelford, Cherry,
SonnyRollins,
McLaughlin,
136 theworld
47(3)-2005
ofmusic
David LiebmanandJamesNewton-havetraveledto studyinIndiaandcollaborate
withIndianmusicians.Morerecently,
a heightened
awarenessof"worldmusic"has
seena newgeneration
ofprofessional
musicians
fromEuropeandNorthAmerjazz
ica takeup studiesofIndianmusic,bothin Indiaandabroad.Meanwhile,a generationofAmerican-born
SouthAsianmusicianshavecomeofage as jazz performers,
music
informed
making
explicitly
byvariousdiasporicidentities.
In prevailing
Westernmodelsof thestudyof non-Westernmusic- typified
by
thestandard
ofethnomusicologytheWestern
participant-observer
methodologies
studentaspiresto thestatusof "insider,"effacing
heridentity
as a Westernmusician.1Jazzmusicians'studyofIndianclassicalmusiccan be distinguished
fromacademicstudybythemusician'sintent,
oftenmadeexplicit,
tocombinea retention
of
herartisticidentity
withan incorporation
of featuresof Indianmusicintoperformance.The rhythmic
features
of Northand SouthIndianclassicalmusicare more
intocross-cultural
sincetheyavoidboththehighreadilyincorporated
performance,
lyspecializedharmonic
conceptsspecifictojazz andthehighlyspecializedmelodic
andmicrotonal
aspectsofIndianclassicalmusic.
The KarnaticmusicofSouthIndiais ofincreasing
interest
tojazz musiciansdue
to itscomparatively
moreelaboraterhythmic
(tala) system.The specificutilityof
Karnaticrhythmic
forWesternprofessional
musicaleducation-as formalsystems
ized injazz educatorRonanGuilfoyle'sbookCreativeRhythmic
ConceptsforJazz
and composerRafael Reina's class Contemporary
Music through
Improvisation
Non-Western
van Amsterdam
in the NetherTechniquesat the Conservatorium
lands-now providesjazz musicianswitha clearframework
andspecifictoolstoinand composition(Guilfoyle
corporateKarnaticelementsintotheirimprovisation
1995,1998;Haddad 1986a,1986b).
In thepast,Westernstudents
havefocusedon theHindustani
musicofNorthIndia. Sincesitarist
RaviShankar'srapidrisetocelebrity
inNorthAmericaandEurope
in theearly1960s,Hindustani
musichas dominated
theWesternconceptof Indian
music.Itbearstheinfluence
offourteenth-century
Muslimrulers,
thetrafreflecting
ficincultureandmaterials
Hindustani
music'sdomalongtheSilkRoad. Similarly,
inancein theWesternimagination
reflects
India'scolonialhistory.
It is notan accidentthatthetablaandsitarofHindustani
andvinaof
music,andnotthemridangam
Karnaticmusic,haveunderscored
Westernfantasies
ofan exoticIndia.Rather,itis
ofpowerin thenorthern
halfof thesubcontiby consequenceof thecentralization
bothof thedevelopment
of Westernized
Indianelitesin the
nent,and a reflection
andongoingtraffic
inculture
betweenthemetropole
anditsmargins.
north,
Morerecently,
as a specificSouthAsiandiasporicpresenceis emerging
worldin Indiaand
wide,Karnaticmusicis assumingnewprominence.
Longmarginalized
and icon...providing
abroad,Karnaticmusicis newlycentralas both"instrument
structural
andideologicalunitytothecommunity
thatidentifies
itselfas SouthIndian" (Hansen1999:104).As Westernmusicianstravelto SouthIndiato studyin inSouthIndianmusicians(e.g.,TrichySankaranin Torcreasingnumbers,
expatriate
of Karnaticmusic(e.g.,RafaelReinein Amsterdam)
havebeen
onto)and students
Music 137
JazzandKarnatic
TanyaKalmanovitch.
distalsitesof SouthIndianmusicalawarenessand activity,
establishing
important
diverse
new
communities
ofKarnaticmusicliteracy.
creating
withKarnatic
JazzmusiciansfromNorthAmericaandEuropearecollaborating
and improvisational
formsbased on strucmusicians,creatingnew compositional
drawnfromKarnaticmusicfusedwithjazz. These"fusions"of
turesandtechniques
and
Indian
music
aretakingplaceincreasingly
on a structural
level,madepossijazz
withthevocabularyof Karnaticmusic.
ble through
Westernmusicians'familiarity
andnon-resident
SouthAsianjazz musicians,
resident
alike,arenowspeakingfrom
to
new
and identity
a diasporicperspective,
of
adding
configurations race,culture,
in
new
intercultural
mix.
These
circumstances
result
significant synjazz's potent
new
toarticulate
formsofmusic,andshowhowjazz holdsthepotential
cretic/hybrid
and
between
East
and
West
across
interactions
enduring
inequities,
non-oppressive
newconfigurations
ofpower.
Thispaperprovidesa preliminary
reporton an educationalexchangeprojectbeMusic Programof theNew School University
tweentheJazz and Contemporary
Researchand TrainingCentreforMusicsof the
(New York)and theBrhaddhvani
I
whichtookplace fromDecember2003 directed
the
World(Chennai).
venture,
Dr
with KaraikudiS. Subramanian
2004, in collaboration
(Brhaddhvani),
January
MartinMueller(New School)andRonanGuilfoyle(NewparkMusicCentre).Itwas
international
exchangebetween
designedas a pilotschemefora proposedfive-year
AssociationofSchoolsofJazz.
Brhaddhvani
andmembers
oftheInternational
Ourprimary
goal was to developa modelforeducationalexchangebetweenan
Inherent
to
IndianschoolandWesternschoolthatwas bothequitableandreciprocal.
as expressedincollabourconceptofexchangewas an emphasison mutuallearning
We wishedfortheIndianparticipants
to learnas muchabout
orativeperformance.
wereto learnaboutKarnaticmusic,to betterenableall
jazz as thejazz participants
musicaldiscourse.We hopedthatlastingrelationpartiesto engagein meaningful
to
andindividuals.
We expected,
betweeninstitutions
finally,
shipswouldbe formed
andorganizational
termsof suchan exchangeso
articulate
theaesthetic,
curricular,
thatotherschoolscouldmakeuse ofourmodel.
Althoughtheexchangeprogramwas notinitiallyintendedas such,it came to
whichis concerned
formyPh.D. dissertation,
formthecentralpartofthefieldwork
the
withexamining
interactions
ofprofessional
jazz andKarnaticmusiciansthrough
lens of postcolonialand globalizationtheory.2As a professional
jazz musician
concernshaveled metostudyKarnaticmusic,andas a Ph.D. candiwhoseaesthetic
as
I occupya dual standpoint
thesamephenomenon,
dateinvolvedin researching
musicianandscholar.
Thisaccountservesas a case studyofcontactbetweenjazz andIndianmusicians.
and institutional
of the
In describing
thesocial,economic,aesthetic,
organization
tosusthatarerequired
I proposetoexaminethesocialandmusicalstructures
study,
tainmutualexchangein transcultural
practice.I situatetheaccountwithina historibein orderto illustrate
thereciprocalnatureof influence
cal and culturalcontext,
138 theworld
47(3)- 2005
ofmusic
I hopeto highlight
thepotentialofjazztweenjazz and Indianmusic.Ultimately,
as a siteforequitableintercultural
Karnaticconfluence
exchange.
2.
A BriefHistoryofJazz and Indian Music
2.1 TheGlobalCharacterofJazz
thecharacter
and contentofjazz havebeenpresentsincethe
Problemsin defining
framesjazz as an African
Academic
discoursefrequently
genre'sverybeginnings.
as a signifier
foran extendedandhetAmericanmusic,buttheterm"jazz" functions
cultural
character
ofjazz resists
The
racial
and
of
range genres. musical,
erogeneous
oftheidiomevadesconsensus.Thoughfromitsbeandthevariegation
delimitation
ithas bornethemarksofa jointEuropeanandAfricanpatrimony,
jazz has
ginnings
and
indeed
has
influences
from
other
to
musical
been
cultures,
always
permeable
Western
clasits
and
to
both
beenshapedfromitsinception
by
proximity opposition
sicalandethnicmusics.
As America'sfirstpopularmusics,pre-jazzand jazz formsspreadrapidly
inearandaccelerating
inthemid-nineteenth
theworld,starting
century
throughout
via
routes
traveled
to
distant
continents
Jazz
nestat theturnof thecentury.
long
charted
jazz's
byEuropeancolonists;as colonialismhas givenwaytoglobalization,
an increasing
international
By the
impacton itsmetropoles.
marginshaveeffected
inEurope,Asia,
ofWorldWarII a wealthofprofessional
jazz performers
beginning
and SouthAmericahad adoptedandadaptedjazz in theirowncountries,
Australia,
(Shipton
preparingthe foundationsforjazz to become fullyinternationalized
2001:2). The impactof theseearlylocalizationscan also be seen to have laid the
of Americanmusicin the1980s."Worldmusic"
fortheglobalization
groundwork
musichadinfactbeentakingplacesincethe
fusionsofAmericanandnon-American
as local performers
adaptedand incorporated
century,
beginningof thetwentieth
Fromthatearlytimejazz has servedas a siteforthearjazz intolocal musicalforms.
The international
of
andresistance
to hegemony.
ticulation
of local identity
history
themultiplicity
of local voicesandthereciprocalnatureof musical
jazz highlights
influence.
2.2 JazzinIndia
Americanminstrel
As in Europeand Africa,Africantroupesappearedin Indiaas
themusicand musiciansto urban
introducing
century,
earlyas themid-nineteenth
Indianculture.
Duringthejazz age ofthe1920sandthebigbanderaofthe1930sand
circuits,
1940s,EuropeanandNorthAmericandancebandstouredinternational
perin ballroomsand majorhotelsin Bombayand Calcutta.In the1930s,jazz
forming
also cameto Indiavia wealthyIndianswhosetravelsto Europeputthemin contact
Music 139
JazzandKarnatic
TanyaKalmanovitch.
withAfricanAmerican
there.Uponreturn
toIndia,these
jazz musiciansperforming
liteswouldarrangeforIndianhotelsto engagethemusiciansforsocial occasions
(Pinckney1989:36).
In India,jazz has generally
IndianupperclassbeenassociatedwithWesternized
in
India
in
orbusies andthoseEuropeansandNorthAmericans
a
living
diplomatic
inthemostWesternized
nesscapacity.Jazzflourished
Indiancenterssuchas Calcuthalf
ta andBombay.3Thereis littleevidencethatthejazz playedin Indiainthefirst
Indian
music.
The
context
ofthetwentieth
bore
to
century anysyncretic
relationship
of performance
neither
ofresistance;
rather,
inspirednorcondonedthearticulation
a
which
Indian
musicians
was
more
means
jazz
likely
by
aspiredto achievegreater
levelsofstatusandmobility.
difficult
FromIndependence
onwarditbecameincreasingly
formusicianstoearn
theprohibia livingplayingjazz inIndia.Two mainfactors
contributed
tothis:first,
thatfolthe
anti-Western
sentiment
tionmovement
ofthe1950s,andmoregenerally
werefromAnglo-IndiThemajority
ofIndianjazz performers
lowedIndependence.
andoccupieda marginal
an orChristian
Goan communities
positionwithrespectto
Jazzmusicianscontinued
to be patrontheprevailing
Hindunationalist
sentiment.
forwhomitwas a statussymboltohireanAnglo-Inizedbywealthy
Anglo-Indians,
inprivateclubsandtophotels,butsuchpatronage
dianjazz bandforsocialfunctions
thatbeganinthe1950s.
withthewidespread
deteriorated
Anglo-Indian
emigration
Jazzwas notincorporated
intotheIndiannationalist
project,whichfocusedon
a spiritualized,
re-historicized
IndiannationalmusicfreeofWesternor
constructing
In thegenerations
afterIndependence,
Musliminfluence.
however,
jazz enjoyednew
in theCold
andartistic
elites.Starting
intellectual
currency
amongtheWesternized
War,WillisConover's "Voice of AmericaJazzHour"beamedjazz intotheIndian
ofjazz. His dis"he was theguruwholed them. . .themanyintricacies
imagination:
embodiedvoicehadbeenso seductivethatitturnedmanyofthosewhomighthave
ofthemusicof
thesitarandthemridangam
otherwise
, to thepatronage
patronized
inaublackAmerica"(Mehta1993:16).A groupofGujaratiandParsibusinessmen
societiesremained
thebiennialJazzYatrafestivalin 1978.Jazzappreciation
gurated
activein Calcuttaand Bombay(Gupta2004), andIndian-born
jazz musiciansBraz
withKarnaticvocalist
Gonsalves,Louis Banks,andRameshShothamcollaborated
formsinthe1980s.
R. A. Ramamanito initiatesignificant
newsyncretic
2.3 JazzandIndianMusic
Indianmusicfounditswayintojazz bythesamerouteittookintoAmericanpopular
as a
Ravi Shankar.Shankarwas established
theinfluence
ofsitarist
culture:through
circuitby themidIndianmusicperformance
on an international
solo performer
such
withprominent
anddiverseWesternartists
1950s,butitwas hiscollaborations
JohnColtrane,and
as classicalviolinvirtuosoYehudiMenuhin,jazz saxophonist
theEnglishrockquartettheBeatlesthatearnedhiminternational
mostimportantly
140 theworld
47(3)-2005
ofmusic
inthesoundtrack
ofthepopfameinthe1960s.Shankar'ssitarfigured
prominently
fortheentireIndian
and Shankarquicklybecamethefigurehead
ularimagination,
classicalmusictradition
(Reck 1985:93).
Orientalist
Americanpopularandcountercultureofthe1960swas unabashedly
innewspiritual
andmusicalinterests
towhichInintone,andthisbecamemanifest
dianculturewas central.Americanpopularcultureofthedaywas "[a] curiousmix
thatincludedRavi Shankar,Hindusthani
music,experimentation,
hallucinogenic
and gurus,and theIndiapilgrimage"
(ibid.:96). As hundrugs,Hinduphilosophy
traveledto Indiain searchof enlightendredsuponthousandsof Westerntourists
substantial
a
new
breed
of
found
ment,
followings-andsubstan"jet-stream
guru"
tialprofits-in theUnitedStates.By themid-1960sthefadforIndianmusicand
in largepartdue to theenormousfameofthe
culturehadreachedepic proportions,
was
whose
with
Beatles,
engagement
drugs,Indianmusic,and Hinduphilosophy
inthepopularmedia.The"ragarock"fadreacheditspeakbetween
welldocumented
1966(Farrell1997:177).
May andSeptember
rockmusic's,was also
withIndianmusic,althoughpredating
Jazz's affiliation
American
ofthe1960s.Ravi Shankar'stutelageofprominent
shapedbytheZeitgeist
and Europeanjazz musicianssuchas JohnColtraneandJohnMcLaughlinsetinto
inthejazz idiom.By 1961,Coltranewas alaesthetic
developments
playsignificant
musicandcouldsee thepossibilities
readydeeplyengagedinthestudyofHindustani
forhis artisticgrowth.He toldinterviewer
FranoisPostif,"I collecttherecords
s made,andhismusicmovesme.I'm certainthatifI recordedwithhim
[Shankar]'
becauseI'm familiar
withwhathe does andI
I'd increasemypossibilities
tenfold,
his work"(in Porter1999:209).A meetingbetweenColandappreciate
understand
traneand Shankarwas arrangedin December1961,and severallessonsfollowed.
in Indianmusicforeground
his jointmusicaland
s interest
Accountsof Coltrane'
His studyofHindustani
musicwas partofa broadercomparamotivations.
spiritual
whichhe aimedto uncoverandexpressmusicaluniversalities,
tiveprojectthrough
thispartof a stillbroaderspiritual
whichhe soughtto understand
journeythrough
anddeepenhismusicalpowers(ibid.:211). Coltrane'ssyncretic
approachtohisIndian influence
is perhapsmostobviousinthetrack"India"fromthealbumLiveat the
, recordedin November1961. The melodyis likelytranscribed
VillageVanguard
imfroma Vedicchantavailableon a Folkwaysreleaseatthetime,andtheextended
takesplace overG pedal (Coltrane1998; Porter1999:209). Since his
provisation
death,Coltranehasoccupiedaniconicpositioninjazz, andhislegacyhasintroduced
Indianmusictocountless
jazz musicians.
A prodigious
andprominent
youngmusicianwhotouredwithMilesDavis while
in his twenties,
JohnMcLaughlinalso becameinvolvedwiththevogueforIndian
cultureand spirituality.
McLaughlin'sguruSri Chinmoygave himthename"Mahavishnu",whichMcLaughlinthenlentto a seriesof electricrockfusionbands
In 1971,duringtheflushofhisconsiderable
succalledtheMahavishnuOrchestra.
cess withthefirst
ofhisMahavishnu
bands,McLaughlinenrolledas an extra-curricularstudent
at WesleyanUniversity
to studyKarnaticmusicon thevinawithDr S.
Music 141
JazzandKarnatic
TanyaKalmanovitch.
intheethnoL. Shankar,
a Ph.D. student
Ramanathan.
HerehemetKarnaticviolinist
later
that
with
Zakir
Hussein,son of Ravi
year
musicologyprogram.
Theyplayed
s accompanist
Alia Rakha.Notlongafter,
Shankar'
McLaughlinabandonedthesuchis
own
words
"the
loudestandfastestgroupon the
cessfulMahavishnu
project(in
in
which
he
for
the
acoustic
Shakti
collaborated
Planet!")
exclusivelywith
quartet
Indianclassicalmusicians.He has describedhistimeplayingwith"Shakti"as idylandhisrecordlabel:the
ofagents,radiostations,
lic,sulliedonlybythedisapproval
The
was
a
commercial
failure
(McLaughlin2004).
grouphasenjoyedconsidproject
as "Remember
Shakti"in
commercial
success
since
its
reformulation
erablygreater
1997.
2.4 Jazzand Orientalism
In 1978EdwardSaid usedtheterm"Orientalism"
todescribetheEuropeanconstructionofthestereotypical
Orientas a romantic,
exotic,andunchanging
place.Bothan
"TheOrientservedtodeobjectofacademicstudyanda subjectofvividimaginings,
fineEurope(and theWest)as itscontrasting
image,idea,personality,
experience"
(Said 1978:2). Said discussedthescholarlyand imaginative
aspectsof Orientalism
institution
formaintaining
as actingwithinthecontextof a corporate
EuropeanovertheOrient.
FrenchandBritish-imperialauthority
specifically
ofIndianmusicandtheWestcanbe readas a case
Thehistory
oftherelationship
in thecolonial
and themannerin whichmusicwas manifest
studyin Orientalism,
byFarrell(1997), amongothers.Sincethebeginprojecthasbeenwelldocumented
Indianmusichas seenseveralvoguesin theWest,mostcoinningsofimperialism,
India
cidingwithspecificpolitical,economic,or culturaleventsthathavebrought
injazz in anysigdidnotbecomeapparent
intothepublicimagination.
Orientalism
injazz, withthe
nificant
wayuntilthe1960s.David Reckdescribes"a briefflurry
sojournin Calcuttaor Bombay,Sanskritictitlesfor
obligatory
pre-performance
tunes,scat singersin saris,tamburadronebackgrounds,
guesttabla playersand
intothemorefamiliar
which
usually
metamorphosed
improvisations
pseudo-raga
such
faddishness
withColtrane's"more
licks"
Reck
contrasts
(Reck
1985:95).
jazz
beand certainly
thenearly50 yearsof interactions
seriouslevel" of engagement,
tweenjazz and Indianmusic since then- duringwhichtimepopularmusichas
movedon to otherpreoccupations-shouldshowmostjazz musicians'involvement
thanfashion.
inIndianmusictobe basedon something
moresubstantial
142 theworld
47(3)-2005
ofmusic
3.
The PilotExchangeProgram
3.1 Background
oftheExchangeProgram
Dr KaraikudiS. Subramanian
andBrhaddhvani
conceivedof by myselfand Irishbassist,
The educationalexchangewas originally
withDr KaraikudiS. Subin
and
educator
Ronan
Guilfoyle, collaboration
composer
Brhaddhvani
Research
andTraining
Centrefor
and
director
of
the
founder
ramanian,
a ninth-generation
vina
Musics of theWorldin Chennai,India.Dr Subramanian,
All
and
an
artist
of
in
Karaikudi
Vinai
Sambasiva
the
of
Iyer
A-graded
family
player
albums.
and
released
solo
IndiaRadio,hasperformed
award-winning
internationally
inethnomusicology
atWesleyanUniversiIn 1975he enrolledinthePh.D. program
in
a
dissertation
which
he examinedthe
in
Connecticut,
completing
ty Middletown,
Karaikudiand Mysorevina stylesin considerabledetail (Subramanian1986).
his nativetradition,
"notas a comThroughthisresearchhe was led to reconsider
in
but
as
a
search
to
discover
worthwhile
myidentity
pelledordeliberate
acquisition,
whatever
contextI findmyself'(Subramanian
2000:79).
in
tookup a positionas a professor
toIndiain 1986,Subramanian
Uponhisreturn
of Music at theUniversity
of Madras.He becameconcernedwith
theDepartment
whathe perceivedto be theunevenstateof musiceducationbothin thetraditional
In response,he develgurukala(master-disciple)
settings.
systemand institutional
thatbalancedtraditional
andinstitutionKarnaticmusicmethodology
opeda modern
ObThismethodology,
sincetitled"Correlated
al approachesina globalperspective.
jectiveMusicEducationandTraining"(COMET), is at theheartof Brhaddhvani's
mission.
in 1989,Brhaddhvani
is a non-profit,
Foundedby Dr Subramanian
tax-exempt
withadditionalprojectsupportfrom
institution
supported
by theFordFoundation,
The centreis locatedon a quiet streetin Raja Annamalai
nationalfoundations.
in centralChennai.The mainbuildingfeatures
Puram,a prosperous
neighborhood
a recording
studio,rehearsalspace,a library,
classrooms,an open-airauditorium,
anda computer-auandoffices.Itemploysa smallstaff
ofadministrators,
caretakers,
Brhaddharegraduates
oftheprogram.
andmostoftheteachingstaff
dio technician,
and to technology
vani's simultaneous
commitment
to tradition
providesstriking
accordinthecourtyard
vinamakerP. Natarajanbuildsaninstrument
juxtapositions:
ilwhileinsideDr. Subramanian
learnedoverthreegenerations,
ingtotheprinciples
a sequencingsoftware
toolmostoftenusedto genlustrates
theuse ofFruityLoops,
Karnaticrhythms.
erateloopsforelectronic
music,as a practicetoolforlearning
Brhaddhvani
is a founding
memberof India's ArchivesResourceCommunity
ofarchivessupported
(ARC), a nationalnetwork
Amongits
bytheFordFoundation.
ofSopanam, thetemplemusicofKerarchivalprojectshasbeenthedocumentation
toreprenotation
ala, usinga descriptive
specifically
developedbyDr Subramanian
sentthecomplicated
gamakasofSouthIndianmusic.Experienceintheuse ofnota-
Music 143
JazzandKarnatic
TanyaKalmanovitch.
tionaland computer
as a meansof documenting,
and
technologies
understanding,
music
Brhaddhvani's
musicians
numerous
learning
gives
advantages.
Centralto Brhaddhvani's
missionhas been theconceptof fostering
collaborationsacrossmusictraditions,
bothwithinIndia and internationally.
Studentslearn
folksongsalongwithclassicalrepertoire;
theinstitute
hostsinternational
musicians
andcomposers(some,likeFinnishcomposerEeroHameenniemi,
return
regularly);
andinternational
students
fromWestern
classicalandjazz backgrounds
havestudied
inan
hasparticipated
thereforperiodsofweeksormonths.
Since 1998,Brhaddhvani
in
with
the
classical
music
at
the
Sibelius
Academy Helexchangeprogram
program
Finland.
sinki,
withBrhaddhvani
My ownexperience
beganinMay of2002,whenI traveledto
Chennaito studywithDr Subramanian.
Duringthecourseofourlessons,Dr Subramanianwouldoftenaskmetodescribehowthematerials
he was teachingmecould
I
be appliedto myownpracticeas a jazz andWesternclassicalviolistandviolinist.
was frequently
struckby the similarities
betweenDr Subramanian'
s pedagogical
andspiritual
undertak-one whichsawmusiceducationas a democratic
philosophy
and self-expression
in society-and that
ing concernedwitharticulating
identity
whichI sharedwitha numberofmycolleaguesinjazz education.Outofthesedisthebasis fora collectiveaestheticof intercultural
cussions,we beganto articulate
I sharednotesfrommylessonswithmycolleagueRonanGuilfoyle.
collaboration.
Together,
Guilfoyleand I developeda basic conceptforan Indianeducationalexs intialresponsewas enthusiastic,
buthe was concerned
change.Dr Subramanian'
thatwe developa proposalthatwas trulyequitable.
andI developeda proposalfora a piDuringmylastweeksinChennai,Guilfoyle
lotexchangetobe carriedoutundertheauspicesoftheInternational
Associationof
network
ofschoolsofjazz foundedbysaxophonist
SchoolsofJazz,an international
30 countriesin
David Liebmanin 1989. A membership
of 84 schoolsrepresents
Northand SouthAmerica,Asia,Europe,andAustralia.Centralto theIASJ's mandateis an educationalandaesthetic
whichholdsjazz andcontemporary
philosophy
ofcross-culmusic
to
"serve
as
the
context
and
rationale
forthefostering
improvised
Atthecore
andinter-cultural
turalcommunication
1996:198).
(Liebman
creativity"
is theconceptofinternational
student
oftheIASJ'sphilosophy
exchange.The heart
of
oftheannualIASJmeetings
aretheensemblesthatareformed
fromthestudents
memberschools.Duringtheweek-longmeetingthestudents
rehearseoriginalmucollaboratheseinternational
sic; despitefrequent
linguisticand culturalbarriers,
has
a
of
ofan exceptionally
level.
The
IASJ
tionsresultinperformances
history
high
each
its
the
funds
economic
member
schools,
adressing
disparity
among
providing
be unableto afford
to senda teacherand stuyearto a schoolthatwouldotherwise
dent.
In July2002 GuilfoyleandI presented
theproposalto theIASJmembersat the
in
Helsinki.
The
was
meeting
proposal
adoptedand a numberof schoolsexpressed
inparticipating.
inDecember2002 1engagedina number
interest
to
India
Returning
oftheprooffurther
discussionswithDr Subramanian
aboutthenatureandcontent
144 theworld
47(3)-2005
ofmusic
sourcesofprojectfunding.
Thefollowing
monthMartinMueller
gram,andpotential
confirmed
thattheJazzandContemporary
MusicProgram
attheNew Schoolwould
as thefirst
school.
stepforward
participating
3.2 PedagogicalandPhilosophicalRationale
We tookas a starting
thatmodernmusicallifehas an increaspointtheassumption
transcultural
character.
Both
and
Karnatic
musiciansarecalledupontoeningly
jazz
with
music
the
outside
of
their
own
culture
and/or
As David
gage
sphere
training.
Liebmanwrotein 1987,"The factthat[jazz] groupsregularly
music
from
integrate
all cultures
andstylesis takenforgranted
musicians.
..
bycontemporary
improvising
itfollowsthattheeducationalphilosophy
offered
to youngstudents
shouldbe similar"(Liebman1996:198).Morerecently,
theAssociationofEuropeanConservatorieshas questionedtherelevanceofEuropean-based
musicaltraining
in a multiculturalsocietythrough
itsConnectInitiative,
a EuropeanUnion-funded
projectwhich
in 2001 recomended
a rangeofinitiatives
transcultural
and
promoting
musicianship
cultural
(CairdandShrewsbury
2001).
diversity
On a practicallevel,Dr Subramanian
thatlearningthefundamentals
of
thought
Western
musiccouldempowerhisstudents
themwiththetoolstoenter
byproviding
intomutualcollaborations
withnon-Indian
and expandedemployment
performers
in thelocal musicindustry.
Chennai'sTamilfilmindustry,
forexamopportunities
forstudiomusiciansfusingWesternpopularmusic,classiple,offered
employment
cal music,Tamilfolksongs,andKarnaticmusic.
In ourlessons,Dr. Subramanian
andI discussedthemanner
inwhichartistic
collaboration
betweenIndianandWesternmusiciansfrequently
fellshortofa genuine
offactors
lackofopportuexchange.Due toa variety
(amongthemlackofexposure,
nity,andeconomicbarriers)
jazz educationhas notbeenreadilyacessibleto Indian
collaborations
led byWesternmusicianshavetended
musicians;as a result,artistic
to assumea unidirectional
in whichIndianmusicians'contributions
are
character,
Sharedmusicalvocabulary,
we agreed,was a necaesthetically
compartmentalized.
forfreemusicalconversation
essarycondition
amongall participants.
Withthisinmind,theprogram
was designedso thatparticipants
fromeachcounDr. Subramanian's
tryspentan equal timeas hostand as visitor.To complement
we developeda basic curriculum
to guidejazz educatorsin teaching
methodology,
thefundamentals
ofjazz totheKarnaticparticipants.
Thiscurriculum
is discussedin
detailinthefollowing
sections.
The partners
in thisprojectshareda strongbeliefin thepotential
of improvised
musicas a deviceforspiritual
andsocialchange.We believedthattheintersection
of
formutually
collabojazz andKarnaticmusicheldparticular
potential
empowering
rationsacrossculturalboundaries.
In bothjazz andKarnartic
music,individualexsocialandperformative
pressionis sustained
through
co-operative
practices.
Improcan be seenas a zone forthearticulation
ofdifference
and
visation,in thiscontext,
Music 145
JazzandKarnatic
TanyaKalmanovitch.
NorthIndianclassicalperformance,
evendissent.Comparedto thesoloist-centred
and
activerolesforrhythmic
Karnaticmusic'sensembleconceptclearlyarticulates
The accompanists
are responsibleforthesame musical
melodicaccompaniment.
withina concertperas soloists,andarerequiredto improvise
matierial
extensively
In bothjazz and Karnaticmusic,a musician'sunique"sound"- a comformance.
andtechnique,
as wellas theuse ofcharactertone,timbre,
plexmixofinstrumental
devicesis a prizedquality.
isticmelodicpatterns
andidiosyncratic
expressive
3.3 Curriculum
goals
andIndianmuforjazz students
In ourinitialreport
we outlineda samplecurriculum
sic students,
whichrepresented
themostusefulconceptsthatcouldbe adequately
withinonemonth'sstudy.
represented
inthreepriThestudyofKarnaticmusicmaybenefit
jazz students'
musicianship
fundaKarnatic
a
of
the
(tala) systemstrengthens
rhythmic
maryways.First, study
music's
melakarta
of
Karnatic
mentalrhythmic
(melodic)
technique.Second,study
withan expandedmelodicpaletteandan enhancedawaresystemprovidesstudents
of
of scale tonesandtensions.Third,theoraltransmission
nessoftherelationships
musicians'pitchdiscrimination,
andtheprimacy
ofthevoicestrengthen
information
musicvocally.Theprimacy
ofthevoiceinIndian
andabilitytorepresent
intonation,
musicalculturealso carriesthepotential
to bringjazz vocalistsandinstrumentalists
an enduring
together,
addressing
genderdivideinjazz education.Othersignificant
formsofKarbenefits
ofKarnaticmusicstudyincludeexposuretoitscompositional
classiandthespiritual
framework
naticmusic,andthephilosophical
underpinning
cal musicpracticein SouthIndia.
andoddmetres
modulation
Karnaticmusicmakesuse ofconceptssuchas metric
fashion.Thesetechniquesareused to
in a highlydevelopedand clearlyarticulated
andcomdimension
totheimprovising
tensionandrelease,addinganother
generate
proceedsbywayofa
training
generally
posingmusician'screativepalette.Rhythmic
thatis highlyflexibleandcan be
orsolkattu
vocalsolfeggiosystemcalledkonnekol
of genreor instrument.
students'rhythmic
used to strengthen
techniqueregardless
hasdevelopeda number
ofexercisesthatteachan awarenessofvarDr Subramanian
is taughtto
Exercise"thestudent
of pulse.In his "Displacement
ious subdivisions
in4
overan 8-beatcycle(adi tala) subdivided
a seriesofrhythmic
patterns
perform
in
is sequentially
(caturasragati),in whichthepattern
displacedbyone subdivision
eachoffourcycles(see Figure1).
such
fromlearning
a rangeofKarnaticrhythmic
Students
also benefit
techniques,
as thefollowing:
korvai(also knownas mora):a contrasting
orconcluding
pattern,
repeatedthree
timesandresolving
tothefirst
beat,thatmarkstheendofa section,a percussion
solo,ora melodicimprovisation;
146 theworld
47(3)-2005
ofmusic
Displacement
{adi
tala )
K.S.Subramanian
Transcribed
T.Kalmanovitch
by
1.Keeping
thetala,
chant
"Takadimi"
until
established
thesubdivision
offour.
When
youhave
firmy
you
aresecure
inthis,
theexercise
below.
begin
2.Onthelastbeat
ofthefirst
while
thesubdivision,
or"Taka
cycle,
maintaining
say"Tadigenaka"
Takita"
togive
a group
offive.
When
thenext
eachgroup
offour
willbe
youbegin
(Takadimi)
cycle,
note.
Onthelastbeat
ofthesecond
addthegroup
offive
this
on
displaced
by1/16
cycle,
Repeat
again.
thethird
aswell,
thelastgroup
offive.
Practice
this
exercise
until
secure.
cycle
resolving
youarevery
3.Next,
addtherhythms
from
"Patterns
ofFour".
Useeachrhythm
for
a full
andexplore
the
cycle,
different
tensions
created
thebeat.
isnotated
(Onepattern
here.)
against
4.Usecombinations
ofpatterns
(i.e.Ta-dim
Dim-ta).
Exercise.
Fig. 1. Displacement
Music 147
JazzandKarnatic
TanyaKalmanovitch.
- systematic
reductionof a melodicor rhythmic
koraippu
phrase.Also performedas a dialoguebetweensoloistand accompanistsin whichimprovised
halveduntil
phrasesare repeatedin call-and-response
style,and progressively
are
in
unison;
they
gatibheda
in thesubdivision
: variations
(gati) ofthebeat,in 3,4,5, 7 or9; and
trikala
: literally,three'speeds', in whichthe pulse remainsconstant,but a
is executedin double,trebleorquadrupletime.
ormelodicpattern
rhythmic
ThemodernKarnaticsystemofragas(melakartasystem)comprises
72 ragasorsix
scale
Each
scale
is
of
seven
notes
(svara) chosen
ganizedby
types.
composed
12
from
which
to the 12
systematically
pitchpositions(svarasthana),
correspond
used
in
Western
classical
and
the
72
24
tones
Of
melas, approximately
jazz harmony.
areofrealmusicalsignificance
inKarnaticmusic(Powers2000:177).Mostofthese
injazz harmony,
aredifferent
to thoseencountered
anda studyofthemelasshould
expandthejazz musicians'melodicpalette.Karnaticragas arederivedfromthe72
melas, whichare reference
scales devoidof themusicalfeatures
embeddedin the
a scalenora melody,"butrather
a continuum
with
conceptofraga.A raga is neither
scale and tuneat its extremes"(ibid.'.US). Ragas can be describedby theirtonal
in ascendingand descendingformastructure
qualities(pitchorderor intervallic
tions)and melodicqualities(noteswhichreceiveemphasis,noteswhichare used
andmelodicpatterns
whicharehighlyspecificandwhichcharacterize
transitionally,
a givenraga).
Themelodiccharacteristics
ofindividual
ragasareelaborated
bya systemofgais incomplete,
as the
makas.The usualconceptualization
ofgamakaas "ornament"
termdenoteseveryaspectoftheperformance
ofa givensvarainthecontext
ofa rawhichpitcha noteis to be approachedfrom,
ga: thegamakaconceptincorporates
howitis tobe attacked,
howitis tobe heldandreleased,andwhichmotifs
aretobe
stillbythespeedoftheperformance.
appliedtoit.Thesevaryfurther
in themethodsof developingimprovisations
in themelakartasproInstruction
videsthejazz student
witha newwaytolookatdevelopingmelodicmaterial
ofany
sort.Studyof raga andgamakasoffersa rangeofexpressivedevicesandextended
andchallenging
students
to thinkdeeplyanddifferently
abouttherelatechniques,
in
of
notes
melodic
context.
tionship
We developeda jazz studiescurriculum
fortheIndianparticipants
basedon our
as
was
collaborative
Our
focus
to
experiences
performers.
throughout
providetheIndianmusicianswiththosemusicalcomponents
and aesthetic
ofjazz that
principles
we thought
to
enter
into
a
and
mutual
In
necessary
meaningful
exchange. additionto
theexercisespresented
in thefollowingsections,we encouraged
memjazz faculty
berstocritically
thinkthrough
theirownassumptions
as Western
and
performers, to
use theirexperiences
Karnatic
music
to
think
about
homologoustermsand
studying
a
scale
could
be
For
veryroughlydescribedas ragaSanconcepts. example, major
illuskarabaranam
, or4/4timedescribedas adi tala.We askedthatjazz participants
andbyinvolving
theIndianmutrateall pointsboththrough
theirownperformance,
siciansinperformance
ateverypossibleoccasion.Through
this,we hopedtoprovide
148 theworld
47(3)-2005
ofmusic
witha storeoftheoretical
andpractical
theIndianparticipants
knowledge
experience
withWestern
musicians.
tobringtofuture
collaborations
Indianclassicalmusicis performed
overa fixedtonic,andIndianmusiciansperin relationship
to thetonic.The movement
ofrootnotesin
ceivemelodicstructures
exeWestern
can
therefore
be
difficult
for
Indian
musicians
to
understand,
harmony
cuteandrespondto.We proposedthatthejazz participants
introduce
Indianparticiin jazz through
thestudyof basic formssuchas the
pantsto harmonicmovement
threechordblues.Whilethejazz teacherplayedorsangan improvisation,
theIndian
in
familiar
could
be
the
roots.
As
become
they
participants
guided singing moving
withthis,theteachercouldsingorplaytherootsandhavetheKarnaticparticipants
thejazz participants
coulddemonimproviseoverthemovingtonic.Additionally,
strate
substitutions
overa fixedtonic,suchas Coltrane-style
conceptsofchord/scale
tensionandreleasepatterns
overa formsuchas "Impressions"
(Coltrane1998).
is twodifferent
inplayatthesametime.
yetcomplementary
Polyrhythm
rhythms
as a KarnaticsoloistmoduTheIndianrhythmic
conceptis linear,notpolyrhythmic;
latesintoa newsubdivision
musicianswillfol(gati)ofthepulse,theaccompanying
exercisesthat
low heror him.We proposedteachingsimpletwo-handed
rhythmic
could be used to introduce
themusiciansto theidea. For example,themusicians
couldbe taught
howtoplaya rhythm
ofthreeinonehandagainsta rhythm
oftwoin
theother.To visuallydocument
theseexamples,we suggestedalternate
notational
of4 over(Figure2):
aids,suchas theTimeUnitBox System(TUBS) notation
inTimeUnitBox System
Notation.
Fig. 2. TwoCyclesofa 4 over3 Polyrhythm
We also suggestedthata jazz drummer

demonstrate
typicalAfro6/8drumset
in turnoverthe3 pulse
that
the
Indian
musicians
could
so
rhythms,
tryimprovising
inthosepatterns.
andthe2 pulseinherent
The conceptoffour-andeight-bar
formsdirectsthestructures
ofnearlyall jazz
in
forms
and
Fourand
form
melodies,
improvisations.
eight-bar
cycles, particular,
In Karnaticcomposition,
thebasisofalmostalljazz improvisation.
phrasesmayvary
inlengthdepending
onthedictatesofthemelody,butKarnaticmusiciansdo notnec(other
essarilyorganizetala cyclesintoanyparticular
groupsduringimprovisation
withIndianmuthantheinherent
duration
ofthetala itself).Jazzmusiciansworking
siciansoftenbuildsolo linestowardsa resolution
or
pointat theend of a four-bar
to
find
the
Indian
musicians
do
not
eight-bar
phrase,only
accompanying
respond,
due to theirmisunderstanding
oftheWesterners'
Likewise,jazz performphrasing.
erswithout
priorexperiencein KarnaticmusicwillnotrecognizeKarnaticsoloists'
methodsofbuildingandresolving
tensioninimprovisation.
Music 149
JazzandKarnatic
TanyaKalmanovitch.
In orderto resolvethis,we suggestedthatthejazz instructor
presenta standard
inAABA form,
32-barprogression
andhavetheIndianmusiciansclapon thedownwiththis,the
beatofeveryfourbarsas theylisten.Once theybecomecomfortable
Indianmusiciansshouldmarkthenameof thepointin theformoutloud (e.g.,call
out 'A' on the1stand 9thbars- 'B' on the17th-and 'A' againon the25th)as the
should
overtheform.Thejazz participants
teacherplaysthemelodyandimprovises
sectionsand soloistsmarkofffour-and
demonstrate
themethodsbywhichrhythm
eight-bar
phrases.
thatgivesjazz fromLouis
tradition
rhythmic
Swingis theAfrican-American
it is a specializedperforits
flavour.
Because
to
Steve
Coleman
unique
Armstrong
we proposedonlya
mancepractice,
the
individual
over
of
years study,
developedby
that
build
technical
model
for
the
Indian
to
upon.We suggested
simple
participants
in
with
a
thejazz instructor
the
Indian
lead
jazz recording
participants clappingalong
thebasic
onthe2ndand4thbeatsofa 4/4bar.After
this,sheorhe woulddemonstrate
jazz ridecymbalbeat,thenhavetheIndianmusiciansrepeatiton thecymbal.Finaltokeepadi talaly,sheorhe wouldsetup a metronome-orasksomeparticipants
andlead everyone
on a call-and-response
ofsyncopated
rhythms.
pattern
couldgivetotheIndian
Oneofthemostimportant
thingswe feltjazz participants
ofjazz from
was an understanding
of thehistory,
ethos,and aesthetics
participants
thatan instructor
fromthejazz school
thepractitioner's
pointofview.We suggested
lead a discussionof thehistory
ofjazz as an intercultural
music,includinga treatmentofthehistory
ofjazz in IndiaandIndianmusic'simpactonjazz. We also recommendedthatthefollowingtopicsbe addressedin discussionand illustrated
by
liveperformance
orbyrecorded
example:Whatmakesa goodjazz solo?How freeis
thejazz soloisttodeviatefromtheharmonic
formandthestructure?
What,ifany,hisection?How
erarchiesare presentwithinjazz ensembles?Whatis a jazz rhythm
withintherhythm
sectionandwithintheensemble?
does interaction
function
3.4 TheNewSchoolinIndia
an unatNew SchoolUniversity
offers
MusicProgram
TheJazzandContemporary
are
drawn
curriculum
the
tradition
of
based
on
artist-as-mentor;
faculty
dergraduate
inNew YorkCity.A
thediversepool ofactivejazz musicianswholiveandperform
andnumerous
classroomcoursesand
ofthestudent
bodyis foreign,
largepercentage
withexpostudents
outsideofjazz, providing
ensemblesfocuson musicaltraditions
Indian
education.Untiltheexchangeprogram,
suretoa diversemusicalandcultural
butwas toucheduponin rhythmusichadnotbeena formalpartofthecurriculum,
micanalysislessonsandworldmusicclasses.
intheexchangeprogram
indicated
theirinterest
New Schoolstudents
andfaculty
of
inthefallof2003.MartinMueller,executivedirector
aftera memowas circulated
chose six participants
afterhe conductedinterviews;
thejazz program,
participants
inKarnaticmusic,a willingness
toparwereselectedbasedon an expressedinterest
150 theworld
47(3)-2005
ofmusic
as their
burden,
ticipateinanequitableexchange,andtheabilitytocarrythefinancial
was no funding
fortravelor accommodations.
Threefacultymembers,
bassistJohannes Weidenmuller,saxophonistArun Luthra,and percussionistKristina
andthreestudents:
member/vocalist
ClaudiaAtkinson,
Kanders,werejoinedbystaff
Nicholas
Menache
and
Evan
and
saxophonists
Herring-Nathan, drummer
Woody
ShawIII.
The New School participants
had varyinglevelsof exposureto Karnaticmusic
Arun
to
their
Luthra
andWoodyShawhadbeentoIndiabefore.Luthra
prior
journey.
hadtraveledtheretwicewithhisIndianfather
andremembered
Hindustani
musicas
of
the
soundtrack
of
his
childhood.
He
was
interested
in
what
he depart
primarily
scribedas "theover-arching
Indian
classical
focus"
of
as
well
as in
music,
spiritual
the
Karnatic
he
had
first
as
encountered
a
student
at
developing
rhythmic
concepts
theNew School (Luthra2004a). JohannesWeidenmuller,
a Germanbassist,was
awareofIndianmusicmainlythrough
ZakirHussein.He hadbeenworking
on metricmodulation
in hisownperformance,
andhadbeenplanning
to studyin Indiafor
sometime.He was notspecifically
awareofKarnaticmusicuntiltheexchangeprovided"theneededpush"(Weidenmuller
a
2003). KristinaKanders,too,reported
in
dreamofstudying India.ShehadbeenexposedtoHindustani
music
long-standing
whilegrowing
andhadbeenexposedtoKarnaticrhythmic
up inGermany,
concepts
intheexchangeprogram
ClaudiaAtkinson
was interested
bebya fellowdrummer.
cause important
musicianssheadmired,
likeColtraneandtheBeatles,hadbeeninfluencedby Indianmusic.She was interested
in learningIndianvocal technique,
2004). Drummer
thoughshehad littleidea whatto expect(Atkinson
WoodyShaw
III had pursuedan undergraduate
and had previously
degreein ethnomusicology
traveled
toNewDelhitostudyHindustani
music.He wantedtostudythemridangam
and translate
itslanguageto thedrumset.Saxophonists
Evan Herring-Nathan
and
NicholasMenachehadeachbeenexposedtoIndianmusicthrough
theirownmusical
formalstudy.NickMenachecommented,
"I had
explorations,
thoughneverthrough
listeneda lottothemusic,so I expectedsomething
tohappen.It's sucha richscene,
andthere'sa wealthofinformation
there-therewas clearlysomething
tobe gained
fromgoing"(Menache2004). All oftheparticipants
weredrawnto theopportunity
to studyinIndiaundera structured
andorganizedgroupsetting.
The New School's visittoBrhaddhvani
was scheduledtocoincidewiththewinterbreakandChennai'sbusymusicfestivalseason.ManyofBrhaddhvani'
s teachers
arebusywithrehearsals
andconcerts
duringthistimeandnormalclassesaregenertheschool'sfacilities
fortheexchangevisitors.
allysuspended,
freeing
Dr. Subramanian
in a collaborative
structured
theprogram
to culminate
performancewithKarnaticmusicianson January
10. Forthefirsttwoweekshe presented
andphilosophy
of
materials,
aesthetics,
dailyclassesduringwhichthefundamental
Karnaticmusicweretaught.Studentswerealso givendailyinstruction
in thetala
Ramakrishna
and in raga and vocal techniqueby Usha
systemby mridangamist
Narasimhan.
Dr. Subramanian
also arranged
visitsfroma number
ofguestartists,
inS. MuraliKrishnan,
cludingmridangamist
TrichySankaran,"fusion"percussionist
Music 151
JazzandKarnatic
TanyaKalmanovitch.
and TamilfolksingerKuppuswamy
Field tripswereorganized,inPushpavanam.
a
dance
Karnatic
anda specialaudienceinthe
concerts,
cluding temple
performance,
homeofthecelebrated
TamilfilmcomposerIlayaraja.Participants
wereable to aradditional
to
their
with
T. A. S.
instruction,
interests, mridangamists
range
according
Mani andB. C. Manjunathin Bangaloreandin ChennaiwithKarnaticsaxophonist
KadriGopalnath.
As theperformance
drewcloser,participants
than
spentmoretimein rehearsals
in classes. Some New School performers
wereable to spendextensivetimewith
masterSouthIndianmusicianssuch as TrichySankaranand PushpavanamKupand Brhaddhvani
rehearsed
twoof
paswamy.The New Schoolparticipants
faculty
Dr Subramanian'
s compositions,
to be performed
withKarnaticviolinistsLalgudi
G. J.R. Krishnan
andVijayalakshmi,
andtheNew Schoolparticipants
workedtodetheirtradition
toIndianaudiences.
velopa selectionofjazz piecestodemonstrate
The concert,
titled"BeyondBoundaries:A DedicationtoWorldHarmony,"
was
heldon January
10thattheImageAuditorium
in Chennai.It was thesecondin a se14thanniversary,
riesoftwoconcertsmarking
Brhaddhvani's
as well as theendof
s "LalgudiYear",commemorating
Brhaddhvani'
theeminent
Karnaticviolinistand
Intended
as a fundraiser
tohelpdefray
Brhaddhvani's
composerLalgudiJayaraman.
eventheldin a large
exchangeprogram
expenses,theconcertwas a well-produced
the
hall,extensively
publicizedin thelocal media.Posterswerehungthroughout
bookwas produced.Atthevenue,a largebackcity,anda commemorative
program
theschool'sandthesponsor'snames,andphotographers,
a camera
dropproclaimed
the stagearea, documenting
the
crew,and soundtechniciansmovedthroughout
event.
Theprogram
featured
Tanjorefolkmusic,Karnaticmusic,andjazz, separateand
in collaboration,
as wellas a seriesof"cross-cultural
compositions'
byTrichySanandEeroHameenniemi.
Production
dekaran,DavidReck,KaraikudiSubramanian,
tothelongprogram,
anda seriesofspeechesandpresentations
layscauseda latestart
theperformers
and specialguestsfurther
stretched
out theproceedings.
honoring
Theconcert
hadtobe truncated,
and
unfortunately, compositions
byDavidReckand
that
which
the
collective
musicians
had
Subramanian,
including
spentthemosttime
were
omitted.
rehearsing,
Overthecourseof theirtimein Chennai,theNew School participants
formed
close bondswiththeIndianparticipants
anddevelopedtheirownmeansofinstitutforexample,begantoinstruct
KandersandClaudiaAtkinson,
ingexchange.Kristina
Usha Narasimhanin drumset and Westernmusicalnotation.Amongthem,New
School students
and facultycollecteda substantial
donationto Brhaddhvani
to pay
forthecostofpurchasing
a drumsetfortheschool.Groupdinnersinprivatehomes
andrestaurants
werealso arranged,
includinga memorable
potlucklunchof South
Indiandishesarranged
the
and
students
at
Brhaddhvani.
by faculty
152 theworld
47(3)-2005
ofmusic
3.5 Brhaddhvani
inNewYork
bothDr Subramanian
andfaculty
memberSankiriKrishnan
weretoparOriginally,
in
the
New
York
of
the
constraints
ultimateticipate
leg
exchange.However,funding
Subramanian
to
travel
to
New
York.
He
arrived
on
21,
ly permitted
only
January
intwoeventsattheannualconference
oftheInternation2004,intimetobe featured
al AssociationforJazzEducation.
Thefirst
ofthesewas a paneldiscussion,
moderated
byDavidLiebmanandtitled
"Jazzand IndianMusic: The Global Conversation
in the
Continues".Participating
discussionwereSubramanian,
RameshShotham,
RonanGuilfoyle,
RudreshMahanwithan ensembleofthe
thappa,VijayIyer,andme.The secondwas a performance
New Schoolparticipants
andguests,named"TheJazzandIndianMusicCollective".
The featured
andjoiningthe
guestsoloistswereDavid Liebmanand Subramanian,
New Schoolfaculty
andstudents
tavil
Ramesh
musicaldirecwere
Shotham,
player
torRonanGuilfoyle,
andtheauthor.The program
featured
of Subracompositions
Karnaticcomposition.
The standingmanian,R. A. Ramamani,andone traditional
room-onlyaudiencesreceivedthe concertand panel discussionenthusiastically.
Botheventswerefeatured
as highlights
in coverageof theconference
in AllAbout
JazzandtheNewYorkTimes(Donohue-Green
2004).
The performance
was gratifying
foreveryoneconcerned.Nick Menachecom"Thehallwas packed,thebandwas tightandwe all hada blast.. .. Theaudimented,
encereallyseemedto enjoyitself'(Menache2004). Dr Subramanian
was gratified
shownbyfrom
Later,RonanGuilfoyle,
bytheinterest
jazz musiciansandeducators.
MartinMueller,andI presented
an oralreport
ontheexchangeprogram
ina meeting
withmembers
oftheIASJandrequested
thattheboardconsidera permanent
levelof
involvement
to sustaintheprogram.
WheretheIndianleg oftheexchangeprogram
reliedon theexisting
resourcesat
no similarinfrastructure
awaitedDr. Subramanian,
so theNew York
Brhaddhvani,
less defined.Subramanian's
timein New
leg of theexchangewas comparatively
fellduringthe
York,scheduledto coincidewiththeIAJEconference,
unfortunately
firstdaysofthespring2004 semester
attheNew School.Withno Brhaddhvani
studentspresentandtheNew Schoolsemester
newlyin session,therewas limitedopto executetheotherendoftheexchange.Subramanian
delivereda workportunity
atthe
shopattheNew School,buthisNew Yorkvisitwas cutshortbycommitments
ofMassachusetts,
VassarCollege,andYorkUniversity.
Amherst,
University
In thespringof2004,1consulted
withtheadministration
atBrhaddhvani
andthe
New Schoolto preparea detailedreportandsetofprogram
recommendations.
This
reportwas presentedto theboardof theIASJ in June2004 at theirmeetingin
The boardresolvedto takeon theexchangeprogram
as a core
Freiberg,
Germany.
financialsponsorship
forDr Subramanian
andhis students.
activity,
recommending
Theboardsuggested
thatSubramanian's
expensesbe paidforhimtoattendthe2005
to themembership.
However,in
meetingin Warsaw,wherehe couldbe introduced
theintervening
monthstheIASJlosta majorpartofitsoperating
whenthe
support
Music 153
JazzandKarnatic
TanyaKalmanovitch.
indenHaag,theNetherlands,
Conservatorium
whichhadbeenproviding
Koninklijk
theIASJwithofficespaceanda parttimestaff
decided
nottorenewitssupmember,
The
is
for
cash
and
unable
to
thenewiniport. organization newlystrapped
support
tiative.In a November2004 meetingwithMartinMueller,I learnedthattheNew
within
Schoolintends
tofurther
forsupport
theuniverhelptheprogram
byapplying
to
back
teach
Subramanian
to
as
a
artist.
The
IASJ
has afsity bring
visitingguest
firmed
thatourreporton theexchangeprojectwillbe printed
anddistributed
to all
IASJmemberschools,whichwillbringa higherlevelofawarenessofKarnaticmusic ingeneralandBrhaddhvani's
inparticular.
program
4.
Discussion
In absolutetermsitwouldseemthatDr Subramanian'
s idealofa trueexchangewas
notfullyrealized.Becauseoffinancial
andscheduleconstraints,
hewasunabletoenwithWesternperformers
and teacherswhilein New York.
gage in collaborations
The teachingburdenwas unequallyloaded,withBrhaddhvani's
facultyproviding
thebulkof theeducationalcontribution
and fewopportunities
fortheNew School
to reciprocate.
participants
Finally,theinstitutional
supportthatwe had hopedto
was notultimately
anditsfuture
remainsuncerwouldsustaintheprogram
extended,
tain.
as a pilotproject,however,a number
Considered
ofpositiveoutcomesshouldbe
noted.The exchangehas potentially
laid thegroundwork
foran equitablepedagogical exchange,andithascertainly
gainsthatcouldbe madewith
pointedtothegreater
of thechallengeswe
modestmaterialand administrative
support.A consideration
facedinrealizingtheprojectmakescleartheenduring
thatneedtobe
disproportion
andsuggeststhemeansbywhichtoovercometheproblems.
addressed,
In additionto theirregulardutiesDr Subramanian
andBrhaddhvani
staffunderin India.
tookconsiderableadministrative
workto assisttheNew School students
Otherwise,
however,thepilotschemewas carriedoutwithno externaladministraI carriedoutmuchoftheprogram
whilesuptivesupport.
designandcoordination
in
research
Institute
India
doctoral
from
the
Shastri
Indo-Canadian
by
grants
ported
and theSocial Sciencesand HumanitiesResearchCouncilof theGovernment
of
Canada.
suchas theIASJcouldmanagesuch
Centralizedsupportfroman organization
as fundraising,
andthecoordination
ofa number
of
procedures
scheduling,
publicity,
and
schools,all ofwhichwouldlightentheworkloadforBrhaddhvani
participating
a long-range
on program
Schoolsparticiperspective
management.
helptomaintain
tooverseetheprojectfromstart
patinginfuture
exchangescoulddesignatea director
to finish;planningcouldbe organizeda yearor morebeforethearrivalof thestudentsinIndia;Brhaddhvani's
efficient
staff
couldmoreeasilyworkwiththeparticischool.
pating
154 theworld
47(3)-2005
ofmusic
In thepilotexchange,noneoftheNew Schoolfaculty
wereassigneda supervisoAt
was
role.
times
when
authoritative
action
ry
required(to mandatepunctuality,
make
at a deadlock),no clearlineofrediffuse
or
decisions
help
personalconflicts,
the
could
be
identified.
sponsibility
Ideally, visiting
jazz schoolshouldassigna facas
itsstudents
member
to
serve
both
while
arein Indiaas
ulty
programsupervisor
wellas duringBrhaddhvani
members'visit.Specificresponsibilities
shouldbe clearandthesupervisor's
and
lyoutlined,
conveyedclearlybothtothestudents
authority
Brhaddhvani
staff.
Thepredominant
the
of
role
should
be
goal
supervisory
diplomacy.
RehearsalsfortheJanuary
10 concertin Indiaweremostefficient
in thosecontextswherean authoritative
bandleader
rolewas established
was
the
case in the
(as
rehearsalsled by Dr. Subramanian,
and
TrichySankaran,
PushpavanamKupandfrequent
puswamy).Longdelaystothestartofrehearsals
changestotheschedule ofevents-notuncommon
inIndia- leftsomeparticipants
occurrences
frustratThe
ed.
New School students
werefacedwiththechallengeof presenting
a jazz
without
a fullrhythm
a comping(harmony)
sectionandwithout
instruperformance
ment.An authoritative
leaderfromtheNew Schoolcouldlikelyhaveproducedcoideas of
available;however,withsix different
gentjazz musicwiththeingredients
whatwas tohappen- versussixmusicianswithone idea- rehearsals
beultimately
camechargedwithtensionanduncertainty.
A musicaldirector
fromthejazz schoolcouldhavecollaborated
withDr. Subramaniantodetermine
therepertoire
andto arrangeandco-direct
therehearsals,
helpShe couldalso
ingtobridgemusicalconceptsandpracticesfromthetwotraditions.
have directedthestudents
in developingrepertoire
thatdemonstrates
thequalities
and characteristics
ofjazz to an Indianaudience,and to helpstudents
respondcreinIndia.
ativelytothemusicalmaterials
theyhaveencountered
The musiciansat Brhaddhvani
with
displayedan extraordinarily
givingattitude
andtheNew Schoolparticipants
wereeagerto
respectto theirmusicalknowledge,
Ata meeting
theIndianportion
oftheprogram,
a numreciprocate.
midwaythrough
berofthemexpressedthedesiretobe moreactivelyinvolvedintheexchange.Given
moretime,moreopportunities
couldhavebeenprovidedtoexposetheBrhaddhvani
tolivejazz performance
andeducation.Brhaddhvani
has a performance
community
space withamplification
equipmenton-sitewherethevisitingjazz musicianscan
on a regularbasis.Theymightalso reachoutwithclassesfor
present
performances
andindividualinstruction
forfaculty
andstudents,
andweekly
children,
workshops
"jamsessions"- all ofwhichcouldbe plannedattheoutset.Additional
performance
outsideBrhaddhvani
couldbe coordinated
a network
ofChenopportunities
through
naijazz performers
andjazz enthusiasts.
betweenIndiaandmost
Despitea growingIndianeconomy,economicdisparity
Western
countries
remainsthesinglemostsignificant
barrier
toequitableexchange.
Thismeansthatgrants
andotheroutsidefundsareespeciallyimportant.
Inthiseffort,
lackofcohesiveorganization
leftDr Subramanian
andtheNew SchoolunabletoapCoordination
betweentheparticipating
schoolsis essentialplyforsuchfunding.
Music 155
JazzandKarnatic
TanyaKalmanovitch.
bothinthegrantapplication
forthe
processandinbookingconcertsandworkshops
Indianparticipants.
Whileit is truethatjazz musicianscannotreasonablyhopeto
seekfinancialrewardsin India,Indianmusicianstraveling
abroadcan,givensufficientadvanceplanning,
to
meet
some
of
their
expect
expensesthrough
revenue-genand workshops.
Dr Subramanian
was interested
to undertake
eratingperformances
additionalteachingwhilein residenceat theNew School,andwas able to organize
someworkshops
at otheruniversities
in theNortheast,
butultimately
therevenues
werenotsufficient
to coverhis expenses.To actualizeanyand all of theabove retolong-term
andtheactiveinvolvement
ofthe
quiresa sharedcommitment
strategy,
hostschooloutsideofIndia.
As in theWest,professional
musiceducationin Indiafaceslimitedstudent
enrollment:
thereis considerable
topursueprofamilypressurein urbancommunities
fessionaltraining
suchas engineering,
or medicine.Despitebeingenaccounting,
rolledin a full-time,
musicprogram,
mostofBrhaddhvani's
current
post-secondary
students
arein theearlystagesoftheirmusicaltraining
andunabletoparticipate
on
an equal footingwithcollege-leveljazz studentsfromAmericanor European
schools.Dr Subramanian
estimatesthatin threeyearshis current
will be
students
advancedto participate
sufficiently
mutuallyin such an exchange.Meanwhile,
Brhaddhvani's
members-accomplished
and
faculty
youngprofessional
performers
educators-areavailableand interested.
The facultyis predominantly
composedof
totheirfamilieswiththedesiretoparticiwomen,whomustbalanceresponsibilities
pateinforeign
exchange.
5.
Impacton theParticipants
FormanyoftheNew Schoolparticipants,
theexchangewas theirfirst
in-depth
exposurenotonlyto Karnaticmusic,butalso to non-Western
music.The chanceto encounterthisprofound
tradition
firsthand
in theculturethatcreatedand sustainedit,
and thento perform
themusicwithsome of its greatestcontemporary
exponents,
an extraordinarily
richmusicalandpersonalopportunity.
the
represented
By reports,
in
resulted
for
the
New
School's
exchange
significant
personalimpact
participants:
threeofthemhaveeitherreturned
ormadeplanstoreturn
toIndiaforfurther
study.
The New School participants
clearlybenefited
musicallyand personallyfrom
theirtimeatBrhaddhvani.
Forsome,theexchangeprogram
servedas anintroduction
tonon-Western
Orientalist
of
India
as an exotic,mysterious
culture,
replacing
myths
from
real-life
and
place withperspectives
gained
experience genuinefriendships.
Kristina
Kanderscommented:
Indiaseemed,
exoticcountrywhoknowsifI canmakeitback
oh,likea faraway,
alive.. .butnowallthefears
aregone,andnowithasbecome
real.I'vebeenhere,
I've
tosurvive
fora month,
andquitewell,andI madesomewonderful
contacts
managed
andlearned
somuch.
So I'mextremely
aboutthisexperience.
(Kanders
2004)
happy
156 theworld
47(3)-2005
ofmusic
withSankiriKrishnan,
Herdelighthas as muchtodo withthebondssheformed
as
with
and Kuppuswamy
themusicshe learned
Usha Narasimhan,
Pushpavanam
in Chennai
thatresulted.Arriving
fromthem,and theunexpected
transformations
was
her
efforts
solkattu
to
the
drum
Kanders
to
focus
of
set,
translating
expecting
the
to
find
herself
instead
on
voice:
focusing
surprised
. .itjustalwayscrushed
InEurope,
I wouldn't
haveevendaredtopickupsinging.
my
Andso hereit'sbeenverytherapeutic
ambitions.
formetosing,becauseI
singing
andwarmteacher,
andDr Subramanian
is
found
thatUshais a verycompassionate
inwhathewants,
andheknows
itandcommunicate
his
howtoexplain
veryarticulate
beengreat
andI've learned
tousemy
teachers,
explanations
verywell.Andthey've
voicefortheveryfirst
timeever,ina publicsetting,
andfeelcomfortable
aboutit.
(Kanders
2004)
howhisexperiences
atBrhaddhvani
Speakinga yearlater,ArunLuthradescribed
continued
toresonateinhismusicallife.Duringthepastyearhehasmadeuseofspecificmusicaldeviceshe learnedat Brhaddhvani,
"Likebeingable to use solkattu
to
I needit.
workouta tricky
subdivision.
That'sinmybackpocketwhenever
rhythmic
in mysoloing:I knowwhereto startthephrasetoreOr usingmorasas resolutions
solvetobeatoneofthebridge."(Luthra2004)
he gainedthrough
Mostpowerful,
saysLuthra,aretheunderstandings
observing
inday-to-day
musicallifeatBrhaddhvani.
andparticipating
He gaineda newunderoftheimportance
oforaltradition,
andfoundhisclose proximity
to histostanding
the
seventh
stone
at
to
the
ry-from
century
carvings Mahabalipuram
livinghistory
ofDr Subramanian's
vinaperformancestobe profoundly
The sense
inspirational.
ofhistory
he foundin Chennaicontinues
to inspirehimin hismusicaland spiritual
growth:
Greatartis timeless
anditspeakstous acrossthegenerations,
andanyone
canbe
touched
byitandmovedbyit.InIndia,a lotofpeoplefeellikethataboutmusic.[My
timeatBrhaddhvani]
thatvalueinmeandcarried
itfurtherthatthisis
reinforced
... Think
whatmusiccanbe.Itreinforces
how
mysenseofbeingthatsortofmusician.
was
in
his
to
You
can
be
that
kind
Coltrane
of
revolutionary
spiritual
approach jazz.
inthejazz tradition,
inthe
musician
andmusicians
havebeenthatkindofmusician
Karnatic
tradition
forever.
(Luthra
2004)
Johannes
Weidenmuller
andArunLuthraarecurrently
a performance
in
planning
New York,duringwhichtheywillperform
compositions
inspired
bytheirstudiesat
Brhaddhvani.
NicholasMenacheis currently
planningto pursuegraduatestudyin
whichhehopestofurther
ofjazz
ethnomusicology,
through
exploretheintersections
andKarnaticmusic.
Brhaddhvani
has oftenhostedmusiciansfromothercultures,
butthechanceto
buildrelationships
overa longerperiodof timewas important
to thefacultythere.
Usha Narasimhan'
s dailyworkwiththeNew Schoolparticipants
gaveherboththe
and therewardof learningaboutanother
satisfaction
of sharingherowntradition,
culture.She viewstheprocessas a collaborative
andmutually
beneficial
one:
Music 157
JazzandKarnatic
TanyaKalmanovitch.
Iftruemusicians
won'tbea clashwhenlearning.
also
come,there
[It]is mutual,
they
likeus,andwealsolikethem.
Andthisis a nicefeeling
whenyouteachandaresharfrom
another
culture.
It'snicetoheardirectly
thepeople.
from
ingwitheachother,
(Narasimhan
2004)
Narasimhanis a devotedpedagogue,and takessatisfaction
fromherworkat
where
she
can
back
to
students
what
she
received
fromherown
Brhaddhvani,
give
teacher.Shedrawsconfidence
andstrength
inDr. Subramanian's
as a departraining
turepointforencountering
newchallenges,
bothinKarnaticmusicandinothermusics:"You havetohaveonethingstrong.
Thenyoucancatchanything.
Thatstrength
is mymusic.Because of thismethodology
I can learnanything.
I am notafraidof
(Narasimhan
2004).
learning
anything"
Narasimhan
describedherinterest
inparticipating
infuture
exchangesintermsof
thepotential
forsharingherowntradition,
and in termsof itsabilityto deepenher
ofherowntradition:
understanding
inthat
To knowwhatisthere
aredoinginthattradition.
..mayhelp
placeorwhatthey
togrowinmyownteaching.
We canlearnanywhere,
ifwe havea right
anything,
I amreallyinterested
mind....
inlearning
anddifferent
ofmusic.It
challenging
types
I do.
makesme happy.Finally,
that'stheanswer.It makesme happy,whatever
(Narasimhan
2004)
The pilotexchangeprovidedBrhaddhvani
withan ideal opportunity
to testand
refineitsinfrastructure
forhostingWesternstudents.
fromWestern
Fees generated
students
an important
newareaoffunding,
andtheschool'sadministrators
represent
areactivelydevelopinga formalshort-term
coursedesignedespeciallyforNon-ResidentIndianand foreignstudents.
Brhaddhvani
administrators
reportedthatthey
havereceivednewqueriesfromforeignstudents,
andhavebeenable to further
deand
forhostingforeign
students.
New setsofinterpersonal
veloptheirinfrastructure
inter-institutional
wereinaugurated,
thebasis forsustainable
relationships
forming
future
development.
The conceptof a mutualexchangepresumesthatthemotivation
forstudyof a
musicis equal acrossbothparticipants.
non-native
However,justas jazz musicians
motivations
forthestudyofIndianmureporta rangeofmusicalandextra-musical
musicalandextra-musical
fortheIndianstudyof
motivations
sic,therearemultiple
non-Western
music.These multiplemotivations
shouldbe betterelaboratedin the
interests
musicaleducation
furthering
reciprocaland equal exchange.Non-western
is nowbeginning
inIndia.Thechildren
middle
tobe formalized
ofIndia'sexpanding
inrockandpopclasscannowbe senttoneighborhood
musicschoolsforinstruction
ularmusicstyles,andjazz training
coursesaimedatIndianstudents
havebeeninstitutedbyIndianindividuals
andforeign-based
(Chari
2004).
companies
Finally,further
studyof thezone of contactbetweenIndiaand theWestmight
in
elaborateon new syncretic
forms,notablythenew genreof "fusion"emerging
SouthIndia.In an inversion
fadofthemid-1960s,
Karnaticmusiofthe"raga-rock"
ciansareincorporating
elementsofWestern
superficial
jazz andpopularmusicinto
classicalmusicto create"fusion"projects.These aremarketed
in parallelto musi-
158 theworld
47(3)-2005
ofmusic
cians'classicalworkandareperceived
viable
bymusicianstobe morecommercially
thanclassicalmusic.Thesephenomena
in
to
the
which
Indian
mupoint
manyways
siciansareimagining
andinscribing
theWestinmusicalpractices.
criTheyamplify
of
Western-centric
of
local
tiques binary,
concepts "fusion",highlighting
multiple
voicesandthereciprocal
natureofmusicalinfluence.
Notes
1 Following
inanthropology,
a discipline-wide
underwent
critidevelopments
ethnomusicology
calexamination
inthe1980sand1990s,
offieldwork
newdegrees
of
methodologies
admitting
totheprocess
offieldwork
nonethe1993;Babiracki
(Chernoff
1997).Theconcept
reflexivity
lessretains
a Western-centric,
directional
character.
2 MyPh.D.research
is supported
from
theSocialSciences
andHumanbydoctoral
fellowships
itiesResearch
Council
oftheGovernment
ofCanadaandtheShastri
Indo-Canadian
Institute.
3 Internationalized
as well:discsrecorded
Grand
inCalHotelOrchestra
byJimmy
Lequime's
in1926featured
cutta
a coreofCalifornia
musicians
with
aninternational
of
augmented
group
from
thePhilippines,
South
Africa
andAustria
Russia,
1989:37).
jazzmusicians
(Pinckney
4 Compared
totheIASJ,theIAJEis a larger,
moreindustry-driven
Itsannual
organization.
attract
of7000delegates,
andserves
from
North
as the
America,
meetings
upwards
mainly
world's
event.
premiere
jazzindustry
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Atkinson,
2004 Personal
11January.
interview,
Carol
Babiracki,
1997 "What'
s theDifference?
Reflections
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inVillage
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F. BarzandTimothy
J.Cooley,
intheField:NewPerspectives
eds.,Shadows
gory
for
Fieldwork
inEthnomusicology,
121-38.
NewYork:Oxford
Press.
University
andRichard
Caird,
George
Shrewsbury
2004 MusicEducation
ina Multicultural
2001: Association
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European
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Conservatories,
accessed
24November,
2004.
www.aecinfo.org/connectconc.html,
Madhav
Chari,
2004 Personal
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John
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