A Ragamala for the Empress

Capwell, Charles

doi:10.2307/852779

Cited by 6 publications

(2 citation statements)

References 3 publications

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“…He openly paraded his honours from Europe and composed verses in 52 reverence of the Empress, the Prince of Wales, and local colonial officials. 58 Though he himself had misgivings about the project, it was Tagore who was invited to develop a Hindustani National Anthem. 59 Tagore spelled out his position on the Empire in no uncertain terms in a history of one of his zam| nda r| s (provincial land holdings): 'It is only since the introduction of British rule in India, that Bakarganj is prospering and the importance which it has attained to, is chiefly due to the good administration under the benign Government of Bengal.'…”

Section: S Mtagore Reconsideredmentioning

confidence: 99%

Music, Lyrics, and the Bengali Book: Hindustani Musicology in Calcutta, 1818–1905

Williams¹

2016

Music and Letters

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Grateful thanks are extended to Katherine Butler Schofield, Richard Widdess, Francis Robinson, and the journal's anonymous peer reviewers for their comments and suggestions. 1 'Hindustani' here refers to the language (loosely, the predecessor of modern Hindi and Urdu) and culture of Hindustança region of central northern Indiaçassociated predominantly with Delhi and Lucknow. 2 Clearly music publishing continued after this period, but increasingly with a different set of priorities relating to the advance of gramophone recording, which are beyond the purview of the current discussion. 1818 and 1905 were the years of publication of the earliest and latest works discussed in this essay. 3 While the Mughal Empire (1526^1857) spread across the subcontinent, the cultural heartlands of the Empire were in the north, especially in Hindustan. The Empire continued until the suppression of the so-called 'Sepoy Mutiny' and Uprising (1857), but had been in a state of decline and collapse from the early 18th c. 4 While Anglophone scholarship conventionally employs 'musicology' as a translation of the 19th-c. concept Musikwissenschaft, in this article the term refers to the systematic and canonical epistemology of music that developed in the South Asian context. On the ethnocentrism and exclusionary consequences of Western music historiography, see

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Section: S Mtagore Reconsideredmentioning

confidence: 99%

Music, Lyrics, and the Bengali Book: Hindustani Musicology in Calcutta, 1818–1905

Williams¹

2016

Music and Letters

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“…Colloquially, a ragamala painting is thought to represent some essence of the raga that corresponds to its name. Ethnomusicologist Charles Capwell (2002), however, argues that the paintings represent the ragamala organizational scheme rather than their named musical counterparts. Despite conflicting claims about the relationship between music and visual representation in ragamala painting, the genre incites a connection between the two (Ebeling, 1973: 13-17).…”

Section: Imagining Sound In Ragamala: Garland Of Melodiesmentioning

confidence: 99%

Exhibiting Music

Nimjee

2017

ethno

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Museums have long been thought of as “quiet” spaces, in which visitors walk slowly through galleries to look at material cultures in glass cases. Music and sound have begun to pervade the quiet spaces of museums in the forms of aural installations and performance-based programs. They are no longer galleries for solely visual engagement, but loud spaces in which visitors and audiences listen to recordings, experience live performances, and participate by themselves singing and playing in workshops, classes, installations, and impromptu demonstrations. This article explores three case studies in exhibiting music. The first is the exhibition Ragamala: Garland of Melodies, which was on display at the Royal Ontario Museum and sought to demonstrate the fluidity between the South Asian arts. The second is an investigation of some of the formal and informal performance-based programming at the Aga Khan Museum. The last case study focuses on a future project, in which collectors of Indian audio cultures will submit contributions to help construct a history of sound in India. Each case study is motivated by a series of central questions: what constitutes “exhibiting music”? What are the broader implications of and consequences for exhibiting music in each case? How does exhibiting music in a museum impact a visitor’s experience? What kinds of new stories are told in exhibiting music and sound? The three case studies respond to these questions and provoke issues and possibilities for further critical inquiry. They show that museums are dynamic spaces with incredible potential to inspire multi-experiential engagement.

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Music, history, and the sacred in South Asia

Jones¹

2013

The Cambridge History of World Music

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A Ragamala for the Empress

Cited by 6 publications

References 3 publications

Music, Lyrics, and the Bengali Book: Hindustani Musicology in Calcutta, 1818–1905

Music, Lyrics, and the Bengali Book: Hindustani Musicology in Calcutta, 1818–1905

Exhibiting Music

Music, history, and the sacred in South Asia

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