Two articles indicate ongoing changes in virtually static classical music world. Both mention Jimi Hendrix.
Most rock musicians who want to honor Hendrix try to emulate the speed of his playing, his tonality, and his use of overtones and studio effects. But they stumble when they fail to acknowledge the breadth of his harmonic language or depth of musical knowledge. David Hidalgo of Los Lobos recently asked Hendrix bassist Billy Cox where Hendrix found the tricky figure he played in "Freedom." "Beethoven," Mr. Cox replied.
Because of the power of the core repertory, the orchestra’s makeup is, and will remain, frozen. There is something slightly troubling about that. This kind of arrested development is, for one thing, historically peculiar. After all, most of Western musical history, from medieval times until the mid-19th century, was also a period of virtually nonstop instrument evolution. Instruments were constantly reconfigured, in size, shape, timbre and technique. And composers responded to the latest developments by writing works that took advantage of the new instruments’ abilities.