rojarosguitar wrote: ↑
Sun Nov 12, 2017 6:26 pm
Hmmm ... according to my humble understanding the concept of a 'lineage' comes in several places in the history and serves different purposes...
There are the blood lineages of of the 'nobility' which served the purpose of making sure you belonged to the right social group (
accidentally that one with political and economical power, at least in times when the lineage still was important).
In science and philosophy the lineage is a kind of legitimation of a certain prestige and also a means of securing a certain continuity of transmission of ideas (which came first depends on place and time). It was and is a door-opener in certain institutions...
Accidentally, in certain parts of Buddhism (maybe also other religious traditions) the 'lineage' was very important to make sure that a certain authenticity of the teachings and instructions was maintained.
In all these contexts the term 'lineage' shifted the assessment of quality away from the individual person to an institutionally granted guaranty.
Now, what purpose could that serve in music? You cant inherit the genes of Segovia or Bream or whomever people admire. So that aspect is irrelevant.
And having had a great teacher doesn't automatically make you a great player (or a worse player than him/her, for that matter). So the sociological function of quoting a lineage can only be to enhance one's chances within the field of competition in terms of prestige, income, positions etc.
This is very well stated, Rojaro, but there doesn't have to be a negative connotation to the concept of lineage. For example, when I played tenor saxophone, my lineage would have been Ben Webster, Coleman Hawkins, Gene Ammons, Dexter Gordon since I was a lyrical player who paid attention to melody and found expression in nuances, inflections, phrasing, and melodic improvisation without having to engage in the frenetic, polytonal "sheets of sound" played by Coltrane(in his progressive stage), Roland Kirk, Archie Shepp and others. So, as I developed my craft, I used these former players as my foundation and soundboard to building my own voice within the context of my musical personality. In regards to CG, this would be difficult for me since my tastes are more eclectic and perhaps less focused on a "lineage," ergo: Segovia, Bream, Eduardo Fernandez, Ricardo Gallen, Dyens, Yamandu Costa, Dylla, Fabio Zanon are some of my favorites but there is no stylistic link, in my opinion, among these artists other than their uniqueness and personal voice. And, perhaps, since I came to the CG at a later stage in my life, I am more open-minded to differing sounds in creating/building my voice on the CG. However, emanating from a "lineage" is certainly possible. Playing again . . . Rognvald