Exploring Creativity in Traditional Music

Abstract

The term “traditional music” is widely used in musicological discourse as well as in everyday conversations, and is, indeed, in the name of our organisation: the International Council for Traditional Music.1 It was also used in the titles of classic studies of Asian music by our elders, such as Yi Hye-gu (1981), Kishibe Shigeo (1969), William Malm (1959), A. C. Scott (1967, 1969, 1975), David Morton (1976), Judith Becker (1980), Terry Miller (1985), and others, and in the titles of many journal articles. In short, the term is at the core of the discipline of ethnomusicology and for this organisation.