| I think there are a couple of things at work here.
1) For years many classical trumpet teachers disrespected jazz and even counted their students who played jazz as being "less serious". Anyone who bought into this line of thinking avoided playing anything but "serious music." A lot of those people are university trumpet teachers today.
2) On the other hand, a lot of jazz musicians who were subjected to this sort of ignorant disrespect developed a complex and proceeded to act and speak as if everyone who played anything BUT jazz was a square out of touch automaton. I know that I have to watch reacting like this based on the emotional experiences and programming I received in my student years.
3) I think the key thing is the balance between versatility and specialization.
To me, it is important for a student or developing player to work toward being musically diverse and fundamentally sound. A student player should focus the majority of their practice and study on eliminating weaknesses and blind spots. This helps one develop a basis of mastery of the craft.
As someone matures musically I find that in the modern world it is generally helpful to specialize. In today's world it is even a specialty to be versatile. For example a modern studio musician specializes in being able to play in any style on any horn in the appropriate style.
As one finds their artistic voice they usually discover that they relate more and communicate more effectively in certain musical styles and contexts. They may also find that their strengths are concentrated in such a way as to give them a strong and unique voice playing certain kinds of music.
A student works to eliminate weaknesses. An artist works to enhance their strengths. |