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Papers by Noe Dinnerstein

Trends in World Music Analysis, 2022

Trends in World Music Analysis, 2022

This Research Article is brought to you for free and open access by the

Himalaya: The Journal of the Association for Nepal and Himalayan Studies, 2013

Songs and cultural representation in Ladakh This article examines how Ladakhi songs represent cul... more Songs and cultural representation in Ladakh This article examines how Ladakhi songs represent cultural self-images through associated musical, textual, and visual tropes. Many songs of the past, both from the old royal house and the rural Buddhist populations, reflect the socio-political structure of Ladakhi society. Some songs, past and present, reflect a pan-Tibetan identity, both in connecting the former Namgyal dynasty to both the legendary King Gesar, as well as Nyatri Tsangpo, the historical founder of the Tibetan Yarlung Dynasty. Nevertheless, a distinct Ladakhi identity is consistently asserted. A number contain texts that evoke a mandala or symbolic representation of the world according to Vajrayana Buddhist iconography, ritual and meditative visualization practices. Situated as it was on the caravan routes between India, Tibet, China, and Central Asia, Ladakhi culture developed distinctive hybrid characteristics, including in its musical styles. The article discusses this ...

Himalaya: The Journal of the Association for Nepal and Himalayan Studies, 2018

Author Biography Noé Dinnerstein is Adjunct Assistant Professor at John Jay College of Criminal J... more Author Biography Noé Dinnerstein is Adjunct Assistant Professor at John Jay College of Criminal Justice, City University of New York. As an ethnomusicologist, his areas of interest are in music of Ladakh, North India, and Latin America. His research in Ladakh focuses primarily on tradition and popular songs, and their evolution through process of crossroads hybridity, past and present. In addition to his scholarly pursuits, he is an active performer and teacher of Hindustani sitar and khayal singing, as well as a composer. He is currently finishing up a book, Traditional Songs in Buddhist Ladakh, which will include translations, transcriptions, and recordings.

This dissertation examines the place of traditional songs in the Tibetan Buddhist culture of the ... more This dissertation examines the place of traditional songs in the Tibetan Buddhist culture of the former Himalayan kingdom of Ladakh. I look at how Buddhism and pre-Buddhist religion informed the texts and performance contexts of traditional songs, and how Ladakhi songs represent cultural self-images through associated musical, textual, and visual tropes. Many songs of the past, both from the old royal house and the rural Buddhist populations, reflect the socio-political structure of Ladakhi society. Some songs reflect a pan-Tibetan identity, connecting the former Namgyal dynasty to both the legendary King Gesar and Nyatri Tsangpo, the historical founder of the Tibetan Yarlung dynasty. Nevertheless, a distinct Ladakhi identity is consistently asserted. A number of songs contain texts that evoke a mandala or symbolic representation of the world according to Vajrayana Buddhist iconography, ritual and meditative visualization practices. These mandala descriptions depict the social order...

Himalaya the Journal of the Association For Nepal and Himalayan Studies, 2013

Himalaya

This article examines how Ladakhi songs represent cultural self-images through associated musical... more This article examines how Ladakhi songs represent cultural self-images through associated musical, textual, and visual tropes. Many songs of the past, both from the old royal house and the rural Buddhist populations, reflect the socio-political structure of Ladakhi society. Although some songs, past and present, reflect a pan-Tibetan identity, a distinct Ladakhi identity is nevertheless consistently asserted. Situated on the caravan routes between India, Tibet, China, and Central Asia, Ladakhi culture developed distinctive hybrid characteristics, including in its musical styles. The article discusses this tradition of hybridity from the 17th Century to the present day. Ladakhi music has moved into modern media space, portrayed through scholarly works, concerts, mass media, and the internet. The article examines various contemporary representations of “tradition” and ethnic identity in both traditional and popular music. Looking at Ladakhi popular music, we see further hybridity base...

Trends in World Music Analysis, 2022

Trends in World Music Analysis, 2022

This Research Article is brought to you for free and open access by the

Himalaya: The Journal of the Association for Nepal and Himalayan Studies, 2013

Songs and cultural representation in Ladakh This article examines how Ladakhi songs represent cul... more Songs and cultural representation in Ladakh This article examines how Ladakhi songs represent cultural self-images through associated musical, textual, and visual tropes. Many songs of the past, both from the old royal house and the rural Buddhist populations, reflect the socio-political structure of Ladakhi society. Some songs, past and present, reflect a pan-Tibetan identity, both in connecting the former Namgyal dynasty to both the legendary King Gesar, as well as Nyatri Tsangpo, the historical founder of the Tibetan Yarlung Dynasty. Nevertheless, a distinct Ladakhi identity is consistently asserted. A number contain texts that evoke a mandala or symbolic representation of the world according to Vajrayana Buddhist iconography, ritual and meditative visualization practices. Situated as it was on the caravan routes between India, Tibet, China, and Central Asia, Ladakhi culture developed distinctive hybrid characteristics, including in its musical styles. The article discusses this ...

Himalaya: The Journal of the Association for Nepal and Himalayan Studies, 2018

Author Biography Noé Dinnerstein is Adjunct Assistant Professor at John Jay College of Criminal J... more Author Biography Noé Dinnerstein is Adjunct Assistant Professor at John Jay College of Criminal Justice, City University of New York. As an ethnomusicologist, his areas of interest are in music of Ladakh, North India, and Latin America. His research in Ladakh focuses primarily on tradition and popular songs, and their evolution through process of crossroads hybridity, past and present. In addition to his scholarly pursuits, he is an active performer and teacher of Hindustani sitar and khayal singing, as well as a composer. He is currently finishing up a book, Traditional Songs in Buddhist Ladakh, which will include translations, transcriptions, and recordings.

This dissertation examines the place of traditional songs in the Tibetan Buddhist culture of the ... more This dissertation examines the place of traditional songs in the Tibetan Buddhist culture of the former Himalayan kingdom of Ladakh. I look at how Buddhism and pre-Buddhist religion informed the texts and performance contexts of traditional songs, and how Ladakhi songs represent cultural self-images through associated musical, textual, and visual tropes. Many songs of the past, both from the old royal house and the rural Buddhist populations, reflect the socio-political structure of Ladakhi society. Some songs reflect a pan-Tibetan identity, connecting the former Namgyal dynasty to both the legendary King Gesar and Nyatri Tsangpo, the historical founder of the Tibetan Yarlung dynasty. Nevertheless, a distinct Ladakhi identity is consistently asserted. A number of songs contain texts that evoke a mandala or symbolic representation of the world according to Vajrayana Buddhist iconography, ritual and meditative visualization practices. These mandala descriptions depict the social order...

Himalaya the Journal of the Association For Nepal and Himalayan Studies, 2013

Himalaya

This article examines how Ladakhi songs represent cultural self-images through associated musical... more This article examines how Ladakhi songs represent cultural self-images through associated musical, textual, and visual tropes. Many songs of the past, both from the old royal house and the rural Buddhist populations, reflect the socio-political structure of Ladakhi society. Although some songs, past and present, reflect a pan-Tibetan identity, a distinct Ladakhi identity is nevertheless consistently asserted. Situated on the caravan routes between India, Tibet, China, and Central Asia, Ladakhi culture developed distinctive hybrid characteristics, including in its musical styles. The article discusses this tradition of hybridity from the 17th Century to the present day. Ladakhi music has moved into modern media space, portrayed through scholarly works, concerts, mass media, and the internet. The article examines various contemporary representations of “tradition” and ethnic identity in both traditional and popular music. Looking at Ladakhi popular music, we see further hybridity base...