Browse Items (9 total)

Tags: Ali Akbar Khan, audio transcript, composition, cross cultural collaboration, East West musical exchange, ethnomusicology, globalization of music, Hindustani music, improvisation, Indian classical music, Indian film music, Indo jazz, Indo Western fusion, L Subramaniam, modern Indian composers, postcolonial music, Rabindranath Tagore, radio and cinema, radio documentary, raga system, Ragas and a Republic, ravi shankar, tala and rhythm, twentieth century music history, Vanraj Bhatia, Western classical music, Zakir Hussain

Tags: Ali Akbar Khan, audio transcript, Carnatic music, colonial representations of India, composition, cross cultural music, East West musical exchange, global circulation of music, Hindustani music, improvisation, Imrat Khan, Indian classical music, Indian music in the West, North South Indian music traditions, notation, oral tradition, Orientalism in music, postcolonial cultural identity, radio documentary, raga system, Ragas and a Republic, ravi shankar, tala and rhythm, tanpura drone, twentieth century music history, Vilayat Khan, vocal and instrumental music, Western classical music and India, Zakir Hussain

Tags: Ali Akbar Khan, All India Radio, audio transcript, Bonnie Wade, commercialization of music, film music in India, gharana system, globalization of Indian music, Hariprasad Chaurasia, improvisation and spontaneity, Indian cinema songs, Indian classical music, M Balamuralikrishna, media and music, microphones and amplification, Nasir Jairazbhoy, national integration through music, performance practice changes, preservation and change, radio broadcasting, raga time theory, Ragas and the Republic, Ram Narayan, ravi shankar, recording technology, technology and tradition, twentieth century India, Western audiences

Tags: audio transcript, Benares, Carnatic music, continuity and change, cultural identity, guru shishya parampara, Hindu devotional music, Hindustani music, improvisation, Indian classical music, music and religion, North South musical traditions, oral tradition, performance practice, pilgrimage and music, post-independence India, raga and tala, Ragas and the Republic, regional musical styles, sacred music, spirituality and sound, temple music, Varanasi

Tags: audio transcript, Carnatic music, caste and music, democratization of music, folk music preservation, gharana system, globalization of music, guru-shishya parampara, Hindustani music, Indian classical music, institutional training, instrumental innovation, kalakshetra, music education in India, musical patronage, oral history, performance standards, post-independence India, Ragas and the Republic, Rajasthan folk music, Sangeet Research Academy, santoor, sarangi, tabla, university music programs

Tags: acoustic aesthetics, aesthetics of silence, All India Radio, artist livelihood, broadcast music, Broken Song, changing audiences, commercialization of classical music, court musicians, cultural transition, decline of princely states, democratization of music, Dhrupad tradition, Emperor Akbar, gharana system, government cultural institutions, guru shishya parampara, hereditary musicians, hotels and corporate patronage, Indian classical music, Khayal tradition, listening practices, memory and music, modernity and tradition, Mughal courts, music education, musician patron relationships, oral transmission, palace performance spaces, post-independence India, princely patronage, public concerts, Rabindranath Tagore, Ragas and the Republic, Ram Narayan, royal courts, sarangi music, shortened performance formats, Tansen

Tags: Ali Akbar Khan, All India Radio, Bonnie Wade, Calcutta music scene, Carnatic music, classical music preservation, court musicians, cultural identity, cultural revival movements, Dagar family, decline of princely patronage, Delhi cultural centralization, democratization of music, devadasi tradition, Dhrupad revival, documentary radio, gender and music, government patronage, Hindu Muslim musical exchange, Hindustani music, Imrat Khan, Indian classical music, Khayal tradition, MS Gopalakrishnan, music education, music institutions, nationalism and music, North South musical divide, oral tradition, Pakistan cultural policy, Partition of India, political interference in arts, post-independence India, public audiences, Ragas and the Republic, ravi shankar, regional musical divisions, religious syncretism, shared subcontinental culture, SPIC MACAY, stigma and reform, Western reception of Indian music, women in Indian music, women musicians, youth engagement

Tags: All India Music Conference, Bonnie Wade, British military bands in India, British Raj, classical music pedagogy, colonial documentation of music, colonial India, cultural history of India, cultural hybridity, cultural misunderstanding, cultural nationalism, cultural resistance, Dhrupad, Dr. Ramanathan, East–West musical exchange, ethnomusicology, European musical influence, fusion music, gamaka, harmonium, harmonium controversy, Hindustani music, historical recordings, Imrat Khan, Indian aesthetics, Indian classical music, Indian independence movement, Indian modernity, Indian musical identity, Indian musicology, Indian nationalism, instrument adaptation, Khayal, L. Subramaniam, missionary music, Mukund Lath, music revival movements, musical heritage, musical modernity, musical reform, nationalist music discourse, oral tradition, performance practice, post-Independence music culture, pre-Independence music culture, Rabindranath Tagore, raga, raga theory, shruti, sitar, standardization of music, Suchitra Mitra, Sumati Mutatkar, tabla, Tagore songs, tanpura, veena, violin in Indian music, Western notation in India

Tags: 10-string violin, accompaniment, artistic freedom, artistic identity, Asian diaspora music, bhangra, British Asian music, Bruce Springsteen, calluses from drums, Carnatic music, Chernobyl contamination case, classical training, collaboration, concert touring, corruption in arts, creative process, cross-cultural collaboration, cultural exchange, double violin, emotional experiences, ethnomusicology, family musical lineage, feedback issues, Frank Zappa, fusion music, global music, Hindustani music, Human Rights Now tour, improvisation, Indian classical music, Indian festivals, instrument design, instrumentation, John McLaughlin, Last Temptation of Christ, live performance, loss of parent, music career challenges, music education, music politics in India, musical influence, musical innovation, musical space, musical upbringing, nepal, North Indian music, outdoor concerts, performance practice, peter gabriel, pop music, quick studio work, radio competitions India, Rajiv Gandhi, recording industry, returning to India, rock music, Shakti, soundtracks, South Indian music, stereophonic violin, studio recording, talking heads, Times of India, Turiyananda Sangeet, Vikku Vinayakram, violin, vocal music, Wesleyan University, world music, world tours, Zakir Hussain