American professor explores adapting duduk to Western instruments

Students gathered to discuss the nuances of cross-cultural borrowing in music in an Honors Chocolate Chat led by Heidi Reed on Feb. 14.

Reed, an adjunct professor of ethnomusicology, discussed how traditions shift and evolve when shared between cultures, emphasizing the need for reciprocity in artistic exchange and how musicians can approach cultural borrowing responsibly.

She recounted her introduction to the duduk, a traditional Armenian double-reed instrument, and the challenges of adapting its distinct sound to Western instruments.

Reed shared her experience adapting the Armenian duduk piece “Knir Im Balik” to the English horn, describing the process of learning the history of the Armenian people and the difficulties they faced.

“I knew nothing about the duduk when I chose it, other than I liked the sound,” Reed said.

She guessed that the duduk and its sound had some importance in Armenian society, and wondered how to navigate that without being insensitive.

“Once I started studying it, I realized how deeply it was tied to Armenian identity and history, especially through events like the Armenian Genocide,” Reed said.

She explained that borrowing from another culture’s music requires more than just adaptation — it calls for understanding and respect.

Reed discussed the balance between honoring tradition and allowing for transformation when borrowing from another culture, noting that while some musical exchanges foster appreciation, others can erase or marginalize original creators.

As part of her presentation, Reed discussed the concept of transformation in music, referencing Walter Benjamin’s essay, “The Task of the Translator.”

She compared cultural translation in music to literary translation, noting that while something is always lost, new meaning and understanding can be gained.

During the discussion, a student asked how one can respectfully integrate different elements into another musical tradition.

Reed explained that musicians should ensure they have a reciprocal relationship with both sides, and be mindful of power imbalances in musical exchange.

She also talked about the power imbalance that often comes with borrowing, particularly when Western musicians incorporate non-Western elements.

“The bigger issue is that if you borrow from another culture, it should be an equal exchange where both sides benefit. But the uncomfortable thing about borrowing is that the borrower doesn’t get to decide if it’s equal — the source culture does,” Reed said.

During the discussion, Heinen Louis, vice president of the Honors Student Leadership Council, briefly brought up the idea that if cultures are not shared, they can die out. Reed acknowledged this, agreeing that transformation is an essential part of cultural survival, but reinforced that the way borrowing happens matters.

“If you’re gaining something — whether it’s money, academic credit or artistic recognition — there should be a way to give back,” she said. “I teach about the duduk because I benefited from learning about it. That’s my way of ensuring reciprocity.”

As the discussion wrapped up, Reed reinforced the importance of engaging with cultural traditions thoughtfully.

“Transformation is inevitable in art and music,” she said. “But we need to ensure that something isn’t just taken — we should seek to understand and give back.”

The Honors Chocolate Chat series, held biweekly, offers students the chance to hear from professors in an informal setting while enjoying chocolate treats.

Louis explained that the goal is to introduce students to topics and projects that professors have worked on.

“The most important thing about the chocolate chats is exposing students to different ideas,” Louis said. “We tend to focus so much on intellectual work that we forget to see how it applies in real life. This is a space where professors share what they love and how they use it.”