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On these pages contributors present essays on interstitial areas of music, as well as personal reflections on the role of border–crossing in their own lives as music makers, listeners, and critics.
Carolyn Dunn
American Indian Music: Not Just Drums and Flute Anymore (2003)
"People think of Indians as stoic, archaic, unmoving. However, we are great
gossips. We love words. We love music, we love art, we love the land, and we love
to move. To cross borders is our specialty — we've been doing it for thousands of
years."
Warren Senders
Music and Categories: An Interstitial Speculation on Record Collections. (2003)
"One of the things that I found out about myself was that I seemed to prefer the
music of artists who were hard to classify. Words like "eccentric," "oddball," and
uncategorizable" were magnets. The jazz musicians I liked the most were the ones
in the "Talent–Deserving–Wider–Recognition" category in the Down Beat polls.
When I discovered Harry Partch, who created his own orchestra of 43–tone–to–
the–octave instruments to play his richly textured compositions, I thought I'd found
the Holy Grail." |
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