David Kraus: The Listening Room

Music Panculturalism~The 21st Century Music Culture~

So what really is the difference between the
ideas of "multicultural" and "pancultural" music? Many people are asking this, listeners and players alike. But with so much happening so quickly as we approached and entered into the new millenium, it was difficult to make such a distinction over the last few decades. No doubt, the two movements have been living together (at times very intertwined) for a long time now, with the latter movement growing inevitably out of the former. It seems that most of todays composers come from an amazingly wide spectrum of musical backgrounds. Even young conservatory trained musicians and composition majors are straying far beyond the parameters of their classical training looking for fresh ideas. In addition, composers today come from all genres and cultures and are not neccesarily "formally" trained at all. The impact on my own work and life is easily discerned in my group writing for Some Sort of Angel. Just consider the instrumentation as you listen. Here are five musicians playing: nylon & steel string guitars (my contribution:), acoustic bass (Clyde Stats), soprano/alto saxes & flute (Gary Gordon), vibraphone & small percussion (Mark vanGulden), with mandolin & tenor banjo (Jamie Masefield). This is a combination of timbers which are rarely (if ever) heard together, and the entire musical sound was carefully thought out in my imagination and the music written before I ever contacted the players whom I wanted to perform it. It had to be done like this because the group needed to understand the overall feeling and textures in the music during rehearsals so it would be experienced by the listener as natural and coherent, and not contrived. Once the music gels with the players, then the group truly becomes an ensemble with an identifiable sound. From this point on it's much easier to compose for the group because the "sound" is established and the players can begin adding their own input into the writing because everyone now understands what will and will not work within the context of the musical impression being sought. This is especially important considering the various music cultures being drawn on for fresh sounds, and the fact that each musician brings their own background and experiences into the mix. Basically, all of the music parts (except solos) on this initial CD were composed by me to create the musical framework. The next recording will be much more ensemble arranged and I love what's happening. I'm excited by the potential and looking forward to its completion:)

But before saying more, I feel that someone more knowledgeable who could communicate more eloquently about the new emerging music culture, a musician who has made panculturalism one of his primary music study projects could explain it with more clarity and insight. The well known composer, pianist, and guitarist, Tom Manoff has been the commentator and music critic for NPR's "All Things Considered" since 1985. Through his experience as a professional musician, author of several books, and a writer for the New York Times and Christian Science Monitor, he has witnessed alot of change in music over the last several decades. In the paragraphs below is a short but insightful definition of panculturalism from Tom but with an open endedness that can only hint at the exciting directions and possiblities in the creation of world music writing and playing today and in the coming years.

Panculturalism in Brief~Excerpts from Tom Manoff~

Panculturalism describes one sensibility of our changing culture. While the eras of modernism and postmodernism described certain aspects of music in the 20th century, panculturalism describes a key aspect of the emerging 21st century musical culture. An important signal that we had entered a new stylistic period is that many "cutting edge" composers of the latter 20th century began to be seen as almost historical figures. So-called "cutting edge" music, meaning music of the late 20th century, has in fact lost its edge.

Panculturalism implies a "skating" or "floating" above cultures, drawing from them effortlessly rather than immersing oneself completely in any one tradition. Formerly "exotic" traditions (e.g. Bulgarian or Flamenco) have lost their exotic impact, especially for younger composers, musicians, and listeners. Unlike multiculturalism which was the late 20th century's attempt to move beyond historic stylistic traditions, in part politically inspired, 21st century panculturalism is a natural and effortless arrival at a sensibility in which all cultures are finally beyond judgement. Put another way, multiculturalism was the affirmative action era for panculturalism.

Pancultural composers favor accessible melodic and rhythmic patterns and a return to tonality in various guises. Pancultural composers and players may seek the honest and natural expression associated with folk music, often using folk materials. Other sources include chant and also religious ritual.

An NPR Special Presentation~Watch this Great Interview~

I've provided a link here that will connect you directly to an on-line video/audio taped show of NPR's "All Songs Considered" from their studios in New York ( archive 4-28-03.) Click on Music Panculturalism and watch in streaming-video an informed but casual interview with Tom as he expands on his ideas about this new and thriving music culture and how it grew to become the leading edge of creative music today. You'll also hear from a suprising array of composers both known and not so well known, from around the world and from amazingly different backgrounds. It's an informative and enjoyable show for any music lover who is truly interested to hear what's been happening on the world music stage as a positive and hopeful mood is being created for a new century in music and art.

If you find your interest and curiousity really peaked and want to read more, check out this wonderful essay by Terry Moreland Henderson, a Los Angeles school teacher and highly regarded member of The American Council of Learned Societies. She works in a program for elementary and secondary school students called Ghosts Among Us/Ancestral Voices: "What's Past is Prologue"using poetry and story telling to help all students from every cultural background (not just selected cultures) research their own cultural origins, and then with this fresh knowledge about where they come from and who they have become, express through their own creative writing who they are and how they live and cope within todays societal and cultural boundaries. Her delineation and clear explanation concerning the conceptual difference between multiculturalism and panculturalism is the best I've read. If you enjoy learning and are seriously looking to transcend politics while seeking a different lens through which to view our world, this is definitely worth your self-education time.

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