From Other Classical Musics: Fifteen Great Traditions, on what the book means by “classical musics” and why jazz is one of them:
The term ‘art music’ is too broad… ‘Court music’ would have worked for some traditions, but not for all; ‘classical’ is the adjective best capable of covering what every society regards as its own Great Tradition…
According to our rule-of-thumb, a classical music will have evolved in a political-economic environment with built-in continuity… 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… almost all classical music has vernacular roots, and periodically renews itself from them;
…As a newish nation whose dominant culture is essentially European, America has – like Australasia – imported Europe’s classical music, but in jazz it has its own indigenous classical form. Those in doubt as to whether jazz belongs in this book should bear in mind that its controlled-improvisatory nature aligns it with almost all other classical musics. Doubters might also consider how closely jazz’s historical trajectory mirrors that of European music, if telescoped into a much shorter time. It too has vernacular roots, and was raised by a series of master-musicians to the status of an art-music; it too has evolved via a ‘classical’ period through a succession of modernist phases, and has become every bit as esoteric as European classical modernism. Since the 1950s jazz has had its own early-music revivalists (from trad bands to Wynton Marsalis) and, again like Western classical music, it too seems unsure where to go next. And now that it’s gone native on every continent, jazz is as global as Beethoven.