In my readings this week, I came across a quote from Gluck, who in 1773 wished that his music “would appeal to all peoples” and “wipe out the ridiculous differences in national music.” (Marshall, Robert L. "The Eighteenth-Century as a Music-Historical Epoch: A Different Argument for the Proposition." College Music Symposium 27(1987), 201). This made me think of Henry Cowell, whose music was seen by some as moving toward a Neo-Primativism... driven by a need "to draw on those materials common to the music of all the peoples of the world, [in order] to build a new music particularly related to our own century." (in Nicholls, David (ed.). The Whole World of Music: A Henry Cowell Symposium. Amsterdam: Horwood Academic Publishers, 1997.)
Here, we have two composers, who 160 years apart are consciously making an effort to create a sort of trans-ethnic music. Granted, for Cowell, trans-ethnic is a far wider concept than for Gluck, but I would like to think that the background is the same, in trying to create a sort of universal music. We have Cowell's own words that this was his goal. Of The United Quartet, Cowell writes: This "is an attempt toward a more universal musical style." (in Taylor, Timothy D. Beyond Exoticism. Durham, NC: Duke University Press, 2007.)

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