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Other Classical Musics argues that there are at least 15 musical traditions around the world worthy of the title “classical music”:
According to our rule-of-thumb, a classical music will have evolved… where a wealthy class of connoisseurs has stimulated its creation by a quasi-priesthood of professionals; it will have enjoyed high social esteem. It will also have had the time and space to develop rules of composition and performance, and to allow the evolution of a canon of works, or forms… our definition does imply acceptance of a ‘classical/ folk-popular’ divide. That distinction is made on the assumption that these categories simply occupy opposite ends of a spectrum, because almost all classical music has vernacular roots, and periodically renews itself from them…
In one of the earliest known [Western] definitions, classique is translated as ‘classical, formall, orderlie, in due or fit ranke; also, approved, authenticall, chiefe, principall’. The implication there was: authority, formal discipline, models of excellence. A century later ‘classical’ came to stand also for a canon of works in performance. Yet almost every non-Western culture has its own concept of ‘classical’ and many employ criteria similar to the European ones, though usually with the additional function of symbolizing national culture…
By definition, the conditions required for the evolution of a classical music don’t exist in newly-formed societies: hence the absence of a representative tradition from South America.
I don’t understand the book’s criteria. E.g. jazz is included despite not having been created by “a quasi-priesthood of professionals” funded by “a wealthy class of connoisseurs,” and despite having been invented relatively recently, in the early 20th century.