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her, for instance. I also have a chapter in one of my recent Southeast Asia for instance, people have a more traditional
books, called Music Glocalization: Heritage and Innovation way of life, and traditional music is clearly part of their daily
in a Digital Age. There, we describe different types of opera lives. In industrialized societies, instead of seeing music as
around the world. The European opera tradition, even within something you participate in, it’s more a form of passive
the classical music world, does have an image of being elite consumerism. It’s something you stream through your phone,
music, and Hollywood and things like cartoons worsen that and it’s something taken for granted. So, it is a different view
perception for children, where very often opera is parodied of the importance of music, and completely disconnected
as having nothing to do with ordinary people – something for from the ritual context that you historically find in traditional
just arrogant and wealthy people. But if you look at the real music. I think that most countries are changing quickly with
stories of opera, these are stories that are inspirational and new technology, so, everywhere it is something to be careful
show people being disadvantaged yet achieving greatness. In about.
Bergen, our opera director is taking opera out into the parks In order to sustain traditional music, it’s important to have
to try to break these stigmas and some idea of how you can adapt it in a
broaden audiences. “In industrialized new way to all of these technological
The problem is also that changes.
commercialized popular music has
become something designed and societies, instead of seeing Q: Do you have a special message to
marketed for teenagers. A lot of our readers?
traditional music is stuck in-between. music as something Yes, I think that the potential role
With the traditional music, many of music toward the objective of
performers are real artists, yet they you participate in, it’s peace, international cooperation and
are often not respected to the same community development is often
degree as a great classical pianist. At more a form of passive underappreciated. Diplomats would
the same time, they are not given do well to learn more about how music
the financial benefits of performers consumerism.” can be used, and support efforts,
in commercial popular music. I and cooperate with musicologists,
think there is a need for better policy, so, I support folk musicians, and others who work closely with music. There’s
music initiatives in performance traditions that can be very a lot of research showing a very positive effect on how music
profound. It’s a matter of heritage. creates mutual understanding among people. Music has a
more profound effect than most people recognize, and part
Q: You are living in Bergen, a city that it’s known to be an of it is that you can instantly affect people with emotion, and
international music city. Was this the reason why you chose this is something that—if you look at every mass movement,
to come to Norway? around the world, at any time, or government, music is a part
I have lived in many different countries, and in many parts of every ritual—it’s something that is included because people
of America…I have also lived in New Zealand, Japan, realise that, if you have music, it makes a huge difference. If
in Moscow… Eventually I ended up in Bergen for a lot of you want to get people’s attention, if you want to get them
reasons. One is that this is really a beautiful place. I think the working together, or even want them to move in the same
fjords are really the most beautiful places on earth. Bergen is way, music is the way to do that. Music is a very powerful
a very musical city. tool, and it’s worth their attention!

Q: So, you are happy in Norway?
In many ways yes, but I’m also happy when I’m away!

Q: What are you going to do next?
I’m trying to finish a new book, which is a part of a series on
world music. The previous books in the series look at how to
teach music from other parts of the world, at different levels
of education, starting in primary school, on to high school…
but my volume is dedicated to higher education. Another
book I am developing is about cultural heritage policy. It is
very international in scope and based upon the PhD courses I
have taught for two years in Bergen, and the other main thing
is the online courses. That is really the way to go, using media
technology for educational outreach.

Q: Do you think that ordinary people do not care much
about their traditional music?
It really depends on the country. In Central Asia and

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