Local Bimusicality among London’s Freelance Musicians

Abstract

In his famous article titled The Challenge of Bi-Musicality,1 Mantle Hood set out case for a performance-based engagement with other music cultures. Suggesting that basic study and training which develops musical ity could not be achieved through more theoretical perspectives offered by musical analysis or criticism, he declared that the training of ears, eyes, hands and voice and fluency gained in these skills assure a real comprehen sion of theoretical studies (Hood 1960:55). Hood's perspective was reflective of more participatory approach towards understanding insider's view, which both ethnomusicology and its cognate discipline anthropology were developing at that time. This emphasis on a practical, hands-on immersion in other music cul tures has profoundly influenced a number of ethnomusicological studies, some of which will surface below.Yet, as I shall argue later, it would be wrong to construe bimusicality as being only preserve of ethnomusicologists: ability to move between different performance traditions has long been a necessary skill required of musical specialists, particularly those working in urban contexts, in a variety of traditions around globe. In this article I explore multifaceted relationship between ethno musicological concept of bimusicality and practical experience of musi cians working in urban contexts, particularly those working in and among various traditions frequently, if problematically, construed as Western. Delimiting such musicians concisely is difficult since differentiated urban environments in which they work, and wide range of styles with which they have opportunity to engage, inevitably give rise to a heterogeneous rather than homogenous group. My focus here is on those who I would de scribe as classically trained, freelance, professional musicians, notwithstanding