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Filling a significant gap in current scholarship, the fourteen original essays that make up this volume individually and collectively reflect on the relationship between music and Orientalism in the British Empire over the course of the long nineteenth century. The book is in four themed sections. 'Portrayal of the East' traces the routes from encounter to representation and restores the Orient to its rightful place in histories of Orientalism. 'Interpreting Concert Music' looks at one of the principal forms in which Orientalism could be brought to an eager and largely receptive - yet sometimes resistant - mass market. 'Words and Music' investigates the confluence of musical and Orientalist themes in different genres of writing, including criticism, fiction and travel writing. Finally, 'The Orientalist Stage' discusses crucial sites of Orientalist representation - music theatre and opera - as well as tracing similar phenomena in twentieth-century Hindi cinema. These final chapters examine the rendering of the East as 'unachievable and unrecognizable' for the consuming gaze of the western spectator.
In This Book Notice Has Been Taken Of The Legendary Origin Of Music Among The Aryans, And Of Its Principles As Understood In Modern India; The Peculiar Scale And Rhythms Employed Have Been Described In Detail; And Examples Of Various Airs Are Given In Notation. A Classic.
"Sankaran examines the cultural and social matrix in which Carnatic music was cultivated and consumed in mid-twentieth century India, including the ways that musicians negotiated caste politics and the double standard for male and female musicians. Sankaran's memoir is interwoven with passages from Daniel M. Neuman's work on music in North India, which inspired Sankaran's project, and interviews with Sankaran by Matthew Allen"--
A Comprehensive Study Dealing With Music Of North-Eastern India With Special Emphasis On Musical Instruments Of Assam. Has Over 75 Colour Illustrations Which Add To The Usefulness Of The Book.
First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.
Explores the influence of anthropological theories, travel literature, psychology, and other intellectual trends on the perception of non-Western music and elucidates the roots of today's field of ethnomusicology.
Music and Temple Ritual in South India: Performing for Śiva documents the musical practices of the periya mēḷam, a South Indian instrumental ensemble of professional musicians who perform during the rituals and festivals of high-caste (Brahmanical) Tamil Hindu temples dedicated to the Pan-Indian god Śiva – an important patron of music since at least the tenth century. It explores the ways in which music and ritual are mutually constitutive, illuminating the cultural logics whereby performing and listening are integral to the kinetic, sensory and affective experiences that enable, shape and stimulate ritual communication in present-day devotional Hinduism. More than a rich and vivid ethnographic description of a local tradition, the book also develops a comprehensive and original analytical model, in which music is understood as both a situated and creative activity, and where the fluid relationship between humans and non-humans, in this case divine beings, is truly taken into consideration.
The essays inNew Mansions for Music: Performance, Pedagogy and Criticismlook at one of the most ancient and rigorous classical musical traditions of India, the Karnatik music system, and the kind of changes it underwent once it was relocated from traditional spaces of temples and salons to the public domain. Nineteenth-century Madras led the way in the transformation that Karnatik music underwent as it encountered the forces of modernization and standardization. This study also contributes to our understanding of the experience of modernity in India through the prism of music. The role of Madras city as patron and custodian of the performing arts, especially classical music offers an invaluable perspective on the larger processes of modernization in India. As the title suggests, the areas of classical music, which were most influenced by these developments were pedagogy or modes of musical transmission, performance conventions and criticism or music appreciation. Once the urban elite demanded the widening of the teaching of classical music, traditional modes of music instruction underwent a major change involving a breakdown of thegurushishya paramparaor the tradition wherein the teacher imparted knowledge to a chosen few. Caste and kinship were important determining factors for the selection of theseshishyasor students, but in modern institutions like the universities these boundaries had to be demolished. Simultaneously, the public staging of music brought the performer into a new relationship with his audience, especially as the art form became subject to validation and criticism by the newly emerging music critic. In an immensely readable book peppered with anecdotes and conversations with leading musicians and critics of the day, as well as humorous visual representations, part caricature, part satirical, the author describes a rapidly changing society and its new look in early twentieth century Madras.