Sanskrit As Language Of Song In Hindustani Art Music (original) (raw)
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Interlocking dimensions in Hindustani music: texts of caitī, kajrī, and jhūlā
Interlocking dimensions of Hindustani music: texts of caitī, kajrī, and jhūlā, 2022
The PhD dissertation investigates the so-defined ‘intermediate sphere’ of Hindustani music as characterised by a variety of heterogeneous forms and focuses on texts as a privileged ground for observation. The research is based on an interdisciplinary approach drawing from multiple domains within the main Indological field, including literary studies, ethnomusicology, and linguistics. I integrated this outlook with extended participant observation, being myself a student of Hindustani music within the traditional guru-śiṣya-paramparā (master-disciple knowledge transmission) system with proponents of the Banāras gharānā (music school). The dissertation outlines the ‘intermediate’ and ‘semi-classical’ music genres of Hindustani music as a result of constant interaction between complex dimensions: vernacular and Sanskritic tradition, bhakti and courtly literature, art and folk music. Furthermore, special attention has been devoted to the implications of applying the terminology and concepts drawn from Western categories of thoughts to the Indian milieu, informed by multi-layered interlocking contexts. Three among intermediate, ṭhumrī-related forms–namely caitī, kajrī, and jhūlā–have been studied in their origins, idiosyncrasies, and within their performative settings. Song texts featuring different idioms–such as Hindi, Bhojpuri, Braj bhāṣā, Awadhi, and Sādhukkarī bhāṣā—have been translated and analysed from structural, linguistic, and stylistic points of view. Imagery, motifs, intra-textual and contextual references have been examined as enactments of interweaving aspects embracing, among others, literary, social, ritual, and religious meanings. Elements related to bhakti and courtly models have been considered in the influences they exerted on formal features, contents, and performative contexts. The dissertation is completed with reference tools—such as a table of the main characters and key motifs of the genres analysed, a chart of synonymic expressions found in the texts, and a glossary of technical terms. This work aims at shedding light on music forms rather neglected by scholarly attention by suggesting new interpretative and critical perspectives. Musical expressions reveal some fundamental cultural and social dynamics and are paradigmatic of the fluidity of certain categories and conceptualisations in the Indic context.
Hindustani Music: Thirteenth to Twentieth Centuries
2013
in partial fulfillment of the requirements for the Degree of Doctor of Physical Therapy from the University of North Dakota, has been read by the Advisor and Chairperson of Physical Therapy under whom the work has been done and is hereby approved.
Indian Music and the English Language Fifty years later
It has been almost 50 years since Harold Powers published his important article on Indian music in the English language. Since that time there has been a vastly increased number of scholarly books and articles in English on various aspects of Indian music and its socio-cultural traditions, including more recently, many studies on non-classical forms. In this paper I begin with the issue of ethnomusicology in India, and following this with an overview of some of the important works published in North America and Europe. I organize these studies in terms of their major themes of history, ethnography, gender, regional and popular music traditions and some of the theoretical streams that now characterize them.
Hindustani Music In the 20th Century
1980
"My PhD on Hindustani vocal music. Not available in print anymore, though I have promised to publish a new edition with some additions and corrections. The book contains a lucid description of the workings of Hindustani music and the changes that took place over the century before its fabrication. The book owes much, nay everything, to my teacher, Pandit Dilip Chandra Vedi - himself disciple of stalwards like Uttam Singh, Bhaskar Rao Bakhle, Faiyaz Khan and Alladiya Khan. Yet, I hope I have critically linked his views to literature and other sources, although inevitably sometimes my stance is biased. Not ashamed!"
International Journal of Visual and Performing Arts
Melody is the soul of Indian classical music. A musician presents different captivating melodic motions of a certain set of notes, showing their diverse permutations and combinations as well as their hidden beauty. This melodic exposition decorates the mind with several melodic expressions and embellishments and is hence referred to as Rāg – which brings aesthetic pleasure. The main objective of this research is the presentation and style of certain rags, as well as the improvisation of the melodic structure. The data obtained by recording the song's melody audio technique and watching the concert live and all of them will be used to analyze and check the composition of the song. The musical analysis is carried out with respect to Rāg. This is because a composition like a mirror reflects a complete picture of an Rāg. It reveals and also retains its characteristics, such as its ascending and descending notes, its dominating notes, other sub-dominant notes, its intricacies, and it...