In your disgust for artists (and fans) claiming the achievements of others in your culture you've managed to deny the validity of the term 'black music' proclaiming that it describes nothing. others have explained however that it places the music within a cultural context which is important but then you go and say culture has no relevance. now i'd think you were just DAing but then I think back and realize how much you avoid the topic of Scottish music (I recall asking directly once over a year ago). I mean even Jakob has taken time on the boards to reference (fuck is it...) Swedish Metal, and it's an apt description as that is very different from say LA Metal. And even further if you were talk about Swedish music a deep study that there are characteristics in Swedish Metal which can be found in other genres. Making Swedish music a distinction from say Icelandic music.

Are these things irrelevant Damaja? Really?

At any rate above I posted this:

This all places it firmly within a cultural context outside of which it could not have been produced.

In other words the context of a Russian composer influenced by Lithuanian folk songs is very relevant to the discussion of the Rite of Spring. That's why they teach it that way.

Now unless you are going to dogmatically stick to your guns and still hold that even in these cases cultural context is irrelevant, that in fact being russian or being exposed to lithuanian folk music played no part in the creation of the music, (which most of the posters against you right now are assuming you wouldn't without having to state it), the implication is that there's something special about 'black music' that you don't like, and *that* stands out to them as a historically racist position. In other words culture is applicable in one case but not the other. Now I don't think you're racist. I think you're dogmatic, and it's symptomatic of the musical theorizing you repesent. So that's why I tagged this on at the end:

Funny thing is that the folk music wouldn't have been embraced under the "european music' moniker (ie academic language) because the folk is at conflict with the requried order. But when Stravinski comes along and gives it the order well then it can stand as a testament to the power of european music.

Irrelevant to the discussion here, but plays into your whole European music is about order which is both true and false even if you posted it in attempted snark. European (western) musical theory is all about order, to the point that they denied their 'folk' heritage in efforts to keep the order until Stravinski and the like realized how boring that order had ecome and so went back to folk traditions. After taking that inspiration and ordering it, it was up to par to be considered (the pinnacle of) European music.

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