The Musical Compositions Of Somanatha Ed

These articles concern the role of the Sanskrit tradition in the performing arts in India. They consider the relations between theory and practice in music and dance with particular reference to the Sanskrit textual tradition of musicology.

A Sober, Analytical Demonstration Of The Various Tellings Of The Sack Of Somnath & [Explores] Not Just The Politics Of Memory, But Also How Remembrances Play On The Certitude Of Facts Shahid Amin In Outlook In 1026, Mahmud Of Ghazni Raided The Temple Of Somanatha. The History Of This Raid And Subsequent Events At The Site Have Been Reconstructed In The Last Couple Of Centuries Largely On The Basis Of The Turko-Persian Sources. There Were Other Sources That Also Refer To Events At Somanatha Throughout A Period Of Almost A Thousand Years, But These Have Rarely Been Quoted When Reconstructing This History. Until Very Recent Times, There Were Few Attempts To Either Juxtapose Or Integrate These Other Texts In Order To Arrive At A More Complete Understanding Of The History Of Somanatha. Such Sources Include Local Sanskrit Inscriptions, Biographies Of Kings And Merchants Written From A Jaina Perspective, Epics Of Rajput-Turkish Relations Composed At Various Rajput Courts And Popular Narratives Of The Activities Of Pirs And Gurus, All Of Which, In Some Way, Have A Bearing On The History Of Somanatha. This Book Is An Attempt To Draw Together These Numerous Voices, To View The Sources Comparatively, But Above All To Place Each Narrative In A Historical Context. This Also Involves Exploring Why A Particular, And Often Distinctive, Perspective Was Adopted By Each. It Suggests A Different History Of Somanatha From The One That Has Been Projected Through The Last Two Centuries. It Also Effectively Underlines The Significance Of Examining The Historical Perceptions Of How Authors Present Events, Both In The Narratives Written In The Past And In The Interpretations Of Past Events In Present Times. A Remarkable Example Of Assiduous And Open-Ended Historiography Hindustan Times

This booklet hardly needs a preface; the contents, I think. speak for themselves.It contains a short and carefully brought up to date resume of all that I. as a private University Lecturer in Amsterdam. have tried to teach my pupils. It is intended as a general introduction to ethnomusicology, before going on to the study of the forms of separate music-cultures. I sincerely hope that those, who wish to teach themselves and to qualify in this branch of knowledge, will find a satisfactory basis for selftuition in the matter here brought together. Regarding the possibility of a new edition, any critical remarks or infor mation as to possible desiderata would be very gratefully received. J.K. PREFACE TO THE SECOND EDITION My request for critical remarks and desiderata has not been ignored. My sincere thanks to all who took the trouble to let me know what they missed in my booklet. Through their collaboration the contents have undergone a considerable improvement and enlargement as compared to the original edition issued in 1950 by the Royal Tropical Institute, Amsterdam. under the title 'Musicologica'. I have taken care to add many particulars from non-European sources. with the result that now the book is no longer so Europe-centric as it was. Furthermore, I have done my best to mention in a special bibliography all the more important ethnomusicological publications, with the exception of those issued in the Russian, Arabic. Chinese, Indonesian, Javanese.

This booklet hardly needs a preface; the contents, I think, speak for themselves. It contains a short and carefully brought up to date resume of all that I, as a private University Lecturer in Amsterdam, have tried to teach my pupils. It is intended as a general introduction to ethnomusicology, before going on to the study of the forms of separate music-cultures. I sincerely hope that those, who wish to teach themselves and to qualify in this branch of knowledge, will find a satisfactory basis for self tuition in the matter here brought together. Regarding the possibility of a new edition, any critical remarks or infor mation as to possible desiderata would be very gratefully received. J. K. PREFACE TO THE SECOND EDITION My request for critical remarks and desiderata has not been ignored. My sincere thanks to all who took the trouble to let me know what they missed in my booklet. Through their collaboration the contents have undergone a considerable improvement and enlargement as compared to the original edition issued in 1950 by the Royal Tropical Institute, Amsterdam, under the title 'Musicologica'. I have taken care to add many particulars from non-European sources, with the result that now the book is no longer so Europe-centric as it was.

Recent scholarship on the history of music in South Asia has examined the processes by which music as an art form was reinvented for nationalist purposes, yet, the disciplined study of music (and its aesthetics) remains only a few centuries old. Studying music through a historical lens has opened new approaches to interdisciplinary studies. Music as History in Tamilnadu examines how history can be interpreted through aesthetics and music and vice versa. Musicologists focus on the study of musical activity, while ethnomusicologists examine this activity first-hand using the 'field' research methods of cultural anthropology. The historian's task, then, is to interpret the musical past as part of cultural production and thereafter relate music to general historical trends. This collection of essays seeks to establish the interdisciplinarity between music (the Karnatak system) and the history of Tamilnadu, south India.

A provocative account of the development of modern national culture in India using classical music as a case study. Janaki Bakhle demonstrates how the emergence of an "Indian" cultural tradition reflected colonial and exclusionary practices, particularly the exclusion of Muslims by the Brahmanic elite, which occurred despite the fact that Muslims were the major practiti oners of the Indian music that was installed as a "Hindu" national tradition. This book lays bare how a nation's imaginings--from politics to culture--reflect rather than transform societal divisions.