> How can something be called traditional which, especially in its
>century manifestations, represents a headlong flight from all that which
>went before? What does George Crumb have to do with Vivaldi?
I suspect that if you really know your Crumb and you really know the
"Classical" tradition you can see the connection with Vivaldi. Crumb didn't
make it all up -- he came from somewhere. It's coming from somewhere and
being trained by examples given by masters that's really at the heart of
traditionality. That doesn't mean that you have to like Crumb.
> Either you hark back constantly, in your writing or your playing, to a
>center or an origin, in which case you're traditional, or you don't, in
>which case you're not.
And rejection is itself harking back, albeit in a bit of a twisted way.
Beyond that, harking back to a center or origin doesn't make one
traditional, really. When I play music I am always harking back to a
center, but it's a center I adopt, usually, not one that I grew up with. If
I tried to play Chopin ot Art Tatum on the fiddle or the pipes would I be
traditional? No, something else is going on.
Insanity is hereditary ...
You get it from your kids.