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Author: Adrian McNeil
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 314
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Book Description
This is a major musical and cultural history of the sarod, a leading stringed instrument in Hindustani classical music, which documents the cultural origins, historical development and music styles of this instrumental tradition over the last three centuries. It documents the history of its musicians, their social organization, patron groups, modes of patronage, musical and aesthetic developments, instrument design and construction, narratives, musical terminology, and conception of musical sound over this period. In so doing it provides a detailed account of how this community of musicians devised and implemented strategies to deal with the major challenges generated by a succession of political economies from premodern times to the present. It highlights the cultural syncretism and diversity that has underpinned the development of the tradition to date. The book also sets out to construct a methodology that historicizes sound and makes it an object of study. A primary aim of the book is to address the current climate of contestation over the cultural ownership of the tradition and its history which is argued to be one of the cultural consequences of globalization and part of a wider tendency of re-imagining the past. Informing this study are the rich oral histories and narratives that pervade the tradition; Sanskrit texts on music; primary materials and studies in vernacular languages; studies in Indian anthropological and sociological studies; colonial records; ethnographies; sound recordings and the author s fieldwork and rigorous training in sarod over the last two decades. Adrian McNeil researches and writes on Indian classical music. Currently Senior Research Fellow, Department of Contemporary Music Studies at Macquarie University, Sydney, Australia, he has published widely on various aspects of Indian classical music. He is a trained sarod player with several performances to his credit.
Author: Adrian McNeil
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 314
Get Book Here
Book Description
This is a major musical and cultural history of the sarod, a leading stringed instrument in Hindustani classical music, which documents the cultural origins, historical development and music styles of this instrumental tradition over the last three centuries. It documents the history of its musicians, their social organization, patron groups, modes of patronage, musical and aesthetic developments, instrument design and construction, narratives, musical terminology, and conception of musical sound over this period. In so doing it provides a detailed account of how this community of musicians devised and implemented strategies to deal with the major challenges generated by a succession of political economies from premodern times to the present. It highlights the cultural syncretism and diversity that has underpinned the development of the tradition to date. The book also sets out to construct a methodology that historicizes sound and makes it an object of study. A primary aim of the book is to address the current climate of contestation over the cultural ownership of the tradition and its history which is argued to be one of the cultural consequences of globalization and part of a wider tendency of re-imagining the past. Informing this study are the rich oral histories and narratives that pervade the tradition; Sanskrit texts on music; primary materials and studies in vernacular languages; studies in Indian anthropological and sociological studies; colonial records; ethnographies; sound recordings and the author s fieldwork and rigorous training in sarod over the last two decades. Adrian McNeil researches and writes on Indian classical music. Currently Senior Research Fellow, Department of Contemporary Music Studies at Macquarie University, Sydney, Australia, he has published widely on various aspects of Indian classical music. He is a trained sarod player with several performances to his credit.
Author: Michael Church
Publisher: Boydell & Brewer
ISBN: 1843837269
Category : Music
Languages : en
Pages : 428
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Book Description
The Other Classical Musics will help both students and general readers to appreciate musical traditions mostly unfamiliar to them.
Author: Max Katz
Publisher: Wesleyan University Press
ISBN: 081957760X
Category : Music
Languages : en
Pages : 224
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Book Description
In the middle of the nineteenth century a new family of hereditary musicians emerged in the royal court of Lucknow and subsequently rose to the heights of renown throughout North India. Today this musical lineage, or ghar n, lives on in the music and memories of only a small handful of descendants and players of the family instrument, the sarod. Drawing on six years of ethnographic and archival research, and fifteen years of musical apprenticeship, Max Katz explores the oral history and written record of the Lucknow ghar n ,tracing its displacement, loss of prestige, and erasure from the collective memory. In doing so he illuminates a hidden history of ideological and social struggle in North Indian music culture, intervenes in ongoing debates over the anti-Muslim agenda of Hindustani music's reform movement, and reanimates a lost vision in which Muslim scholar-artists defined the music of the nation. An interdisciplinary, postmodern counter-history, Lineage of Loss offers a new and unsettling narrative of Hindustani music's encounter with modernity.
Author: Jonathan McCollum
Publisher: Lexington Books
ISBN: 1498507050
Category : Music
Languages : en
Pages : 431
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Book Description
Historical ethnomusicology is increasingly acknowledged as a significant emerging subfield of ethnomusicology due to the fact that historical research requires a different set of theories and methods than studies of contemporary practices and many historiographic techniques are rapidly transforming as a result of new technologies. In 2005, Bruno Nettl observed that “the term ‘historical ethnomusicology’ has begun to appear in programs of conferences and in publications” (Nettl 2005, 274), and as recently as 2012 scholars similarly noted “an increasing concern with the writing of musical histories in ethnomusicology” (Ruskin and Rice 2012, 318). Relevant positions recently advanced by other authors include that historical musicologists are “all ethnomusicologists now” and that “all ethnomusicology is historical” (Stobart, 2008), yet we sense that such arguments—while useful, and theoretically correct—may ultimately distract from careful consideration of the kinds of contemporary theories and rigorous methods uniquely suited to historical inquiry in the field of music. In Theory and Method in Historical Ethnomusicology, editors Jonathan McCollum and David Hebert, along with contributors Judah Cohen, Chris Goertzen, Keith Howard, Ann Lucas, Daniel Neuman, and Diane Thram systematically demonstrate various ways that new approaches to historiography––and the related application of new technologies––impact the work of ethnomusicologists who seek to meaningfully represent music traditions across barriers of both time and space. Contributors specializing in historical musics of Armenia, Iran, India, Japan, southern Africa, American Jews, and southern fiddling traditions of the United States describe the opening of new theoretical approaches and methodologies for research on global music history. In the Foreword, Keith Howard offers his perspective on historical ethnomusicology and the importance of reconsidering theories and methods applicable to this field for the enhancement of musical understandings in the present and future.
Author: Rachel Harris
Publisher: Routledge
ISBN: 1351752154
Category : Music
Languages : en
Pages : 352
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Book Description
This volume of original essays is dedicated to Owen Wright in recognition of his formative contribution to the study of music in the Islamic Middle East. Wright’s work, which comprises, at the time of writing, six field-defining volumes and countless articles, has reconfigured the relationship between historical musicology and ethnomusicology. No account of the transformation of these fields in recent years can afford to ignore his work. Ranging across the Middle East, Central Asia and North India, this volume brings together historical, philological and ethnographic approaches. The contributors focus on collections of musical notation and song texts, on commercial and ethnographic recordings, on travellers’ reports and descriptions of instruments, on musical institutions and other spaces of musical performance. An introduction provides an overview and critical discussion of Wright’s major publications. The central chapters cover the geographical regions and historical periods addressed in Wright’s publications, with particular emphasis on Ottoman and Timurid legacies. Others discuss music in Greece, Iraq and Iran. Each explores historical continuities and discontinuities, and the constantly changing relationships between music theory and practice. An edited interview with Owen Wright concludes the book and provides a personal assessment of his scholarship and his approach to the history of the music of the Islamic Middle East. Extending the implications of Wright’s own work, this volume argues for an ethnomusicology of the Islamic Middle East in which past and present, text and performance are systematically in dialogue.
Author: Razak Khan
Publisher: Oxford University Press
ISBN: 9354974899
Category : History
Languages : en
Pages : 436
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Book Description
Minority Pasts explores the diversity of the histories and identities of Muslims in Rampur-the last Muslim-ruled princely state in colonial United Provinces and a city that is pejoratively labelled as the centre of "Muslim votebank" politics in contemporary Uttar Pradesh. The book highlights the importance of locality and emotions in shaping Muslim identities, politics, and belonging in Rampur. The book shows that we need to move beyond such homogeneous categories of nation and region, in order to comprehend local dynamics that allow a better and closer understanding of the historical re-negotiations of politics and identities by Muslims in South Asia.
Author: John W. Troutman
Publisher: UNC Press Books
ISBN: 1469627930
Category : Music
Languages : en
Pages : 393
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Book Description
Since the nineteenth century, the distinct tones of k&299;k&257; kila, the Hawaiian steel guitar, have defined the island sound. Here historian and steel guitarist John W. Troutman offers the instrument's definitive history, from its discovery by a young Hawaiian royalist named Joseph Kekuku to its revolutionary influence on American and world music. During the early twentieth century, Hawaiian musicians traveled the globe, from tent shows in the Mississippi Delta, where they shaped the new sounds of country and the blues, to regal theaters and vaudeville stages in New York, Berlin, Kolkata, and beyond. In the process, Hawaiian guitarists recast the role of the guitar in modern life. But as Troutman explains, by the 1970s the instrument's embrace and adoption overseas also worked to challenge its cultural legitimacy in the eyes of a new generation of Hawaiian musicians. As a consequence, the indigenous instrument nearly disappeared in its homeland. Using rich musical and historical sources, including interviews with musicians and their descendants, Troutman provides the complete story of how this Native Hawaiian instrument transformed not only American music but the sounds of modern music throughout the world.
Author: John Baily
Publisher: Ashgate Publishing, Ltd.
ISBN: 9780754657767
Category : Social Science
Languages : en
Pages : 128
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Book Description
This book presents the vocal art music of Kabul as performed by Ustad Amir Mohammad. At the heart of Kabul's vocal art music is the ghazal, a highly flexible song form using Persian (or Pashto) texts derived from a variety of sources. Central to the book is the audio CD, containing six ghazals, one mosammat and one Afghan-style tarâna, all recorded by John Baily between 1974 and 1976 in the city of Herat, in western Afghanistan.
Author: Tejaswi Niranjana
Publisher: Oxford University Press
ISBN: 0190990201
Category : Music
Languages : en
Pages : 363
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Book Description
With the onset of modernity in twentieth-century India, new social arrangements gave rise to new forms of music-making. The musicians were no longer performing exclusively in the princely courts or in the private homes of the wealthy. Not only did the act of listening to and appreciating music change, it became an important feature of public life, thus influencing how modernity shaped itself. This volume attempts to study the connections between music and the creation of new ideas of publicness during the early twentieth century. How was music labelled as folk or classical? How did music come to play such a catalytic role in forming identities of nationhood, politics, or ethnicity? And how did twentieth-century technologies of sound reproduction and commercial marketing contribute to changing notions of cultural distinction? Exploring these interdisciplinary questions across multiple languages, regions, and musical genres, the essays provide fresh perspectives on the history of musicians and migration in colonial India, the formation of modern spaces of performance, and the articulation of national as well as nationalist traditions.
Author: James Kippen
Publisher: Taylor & Francis
ISBN: 1351564730
Category : Music
Languages : en
Pages : 361
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Book Description
The 1903 Mrdang aur Tabla Vadanpaddhati is a revelatory text that has never been translated or analysed. It is a manual for playing the two most important drums of North Indian (Hindustani) music, the pakhavaj (mrdang) and the tabla. Owing to its relative obscurity, it is a source that has never been discussed in the literature on Hindustani music. Its author, Gurudev Patwardhan, was Vice Principal of V.D. Paluskar's first music school in Lahore from its inception in 1901 to 1908. Professor James Kippen provides the first translation of this immensely important text and examines its startling implications for rhythmic and metric theory. It is the earliest work on Indian drumming to contain a notation sufficiently precise to allow definitive reconstruction. The compositions are of considerable musical interest, for they can be readily realized on the tabla or pakhavaj. Kippen sets the work and objectives of the original author in the context of a rich historical, social and political background. By also discussing radical differences in the second edition of 1938, published by Gurudev's nephew, the vocalist Vinayakrao Patwardhan, Kippen illuminates the process by which 'tabla theory' was being created in the early 20th century. Both Patwardhans were enthusiastic supporters of Paluskar's nationalist imperatives, and active participants in his drive to institutionalize music, codify and publish notations of it, and promote a modern, Hindu vision of India wherein its identity could once again be linked to a glorious golden age in distant antiquity.
