Minstrel "music" is perhaps problematic itself. On the one hand, you have music as an emergent property of the gathered individuals' culture and skills. That blurs when a tavern sings to a traveling minstrel rather than a neighbor. But professionals can enhance rather than displace. Consider European acting troupes traveling a US West steeped in discussion of Shakespeare. Or printed "poems" to be spread and read in support of real spoken poetry. And minstrels do collaborate with local players... but they can also displace. Something is lost to a community when the local kid or elder can no longer make a bit of money piping in the harvest. Or neighbors play the gather fiddles. When music becomes for a community a spectator sport, rather than something embedded. A train car singing together, versus an occasional platform busker. Like trust-fund kids who see strength of knowledge and skills as something to buy not build in themselves. Or a merchant who doesn't value strength of body for farming. And then there's the my-tower-is-taller-than-yours of court "professional music". With richly textured diversity, complexity, nuance, and surprise consequences, these can be hard to think and discuss clearly. Like struggling now to appreciate the impoverished isolation of people's un-musical experience of tunes before AR's ambient-rendezvous-and-collaborate jamming apps.