Bassist, composer, music educator, researcher

The emergence of critical musicology in recent years has enabled scholars to challenge traditional ways of discussing and understanding music. By using methodologies established within fields such as cultural and critical theory, many assumptions about music and its history have been contested and opened up to new critical perspectives. For example, within the study of music, distinctions between high and low culture have largely been broken down, and music itself is now widely understood as socially constructed, rather than having inherent qualities that constitute some essential and enduring aesthetic. Similarly, the grounding of the study of art in the social has exposed and disbanded mythologies that promote art’s transcendent qualities. Art is no longer discussed as the product of the ‘genius’ who is the conduit for divine inspiration and whose work transcends time and place, and has been replaced by discussions of art as a medium situated within a specific set of complex historical and political relationships. (from Jazz Icons by Tony Whyton, 2010: 128)