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Full-Text Articles in Arts and Humanities
The Evolution Of Modern Thumri, Peter L. Manuel
The Evolution Of Modern Thumri, Peter L. Manuel
Publications and Research
This essay outlines the evolution of thumri, tracing its development from pre-modern references through the bandish thumri of the mid-nineteenth century Lucknow, and the bol banao thumri of the courtesan era to its modern status as a light closing itme in classical concerts.
The Intermediate Sphere In North Indian Music Culture: Between And Beyond ‘Folk’ And ‘Classical’, Peter L. Manuel
The Intermediate Sphere In North Indian Music Culture: Between And Beyond ‘Folk’ And ‘Classical’, Peter L. Manuel
Publications and Research
If in discourse about traditional music in North India, the notions of “folk” and “classical” continue to be widely used, in this essay I posit the existence of an “intermediate sphere,” comprising a heterogeneous set of traditional music genres that, in different ways, shares features with both folk and classical realms. I suggest five categories in this socio-musical stratum and provide brief glimpses of some of their constituents and distinguishing features, including the distinctive sorts of theory they embody and elite patronage that sustains them. I conclude with observations about historical changes in the status of this sphere in general.
Music, The Media, And Communal Relations In North India, Past And Present, Peter L. Manuel
Music, The Media, And Communal Relations In North India, Past And Present, Peter L. Manuel
Publications and Research
No abstract provided.
The Concept Of Tāla In Thumrī, Peter L. Manuel
The Concept Of Tāla In Thumrī, Peter L. Manuel
Publications and Research
No abstract provided.
Radhagovind Sangitsar Of Maharaja Pratap Singh, Peter L. Manuel
Radhagovind Sangitsar Of Maharaja Pratap Singh, Peter L. Manuel
Publications and Research
The Radhagovind Sangitsār (or simply Sangitsār) completed in Jaipur around 1800, is a significant musical treatise regarding North Indian classical music. Its special importance lies in its status as one of the very few writings on Hindustani music in the nearly two centuries between the 16th-17th Sanskrit and Persian texts and the early modern writings commencing in the decades around 1900. In the interests of disseminating it to interested students and scholars I have digitized chapter seven, on rāga, which is the chapter that has proved to be of most use and interest to musicologists.