Browse Items (4 total)

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: 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: 16-beat cycle, Ashit Desai, Asif Ali Khan, bols, ceremonial music, childbirth songs, classical and folk fusion context, classical dance repertoire, classical Indian music, cultural anthropology, cultural preservation, cultural storytelling, devotional songs, Durga Lal, ethnomusicology, folk instruments, folk singing, footwork patterns, gat nikas, Ghazi Khan, Indian expressive arts, Indian folk culture, Indian rhythm, Jaipur gharana, jala finale, Kathak, kathak compositions, Kathak performance, Latif Ahmed Khan, life-cycle ceremonies, Lucknow gharana, Manganiyar lineage, Manganiyar musicians, melodic patterns, narrative songs, North Indian classical dance, North Indian performing arts, paran, paran amad, performance practice, raga-based folk performance, Rajasthan folk traditions, Rajasthani folk music, Rajasthani oral traditions, regional musical heritage, rhythm improvisation, rhythmic cycles, ritual music, Rukmani, sarangi accompaniment, tabla accompaniment, teen taal, tihai, traditional music ensembles, vocal improvisation, wedding songs, women’s songs

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