The Distribution of Authority in the Performance of North Indian Vocal Music

Napier, John

doi:10.1080/17411910701554062

Cited by 6 publications

(3 citation statements)

References 3 publications

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“…Clayton 2000Clayton , 2007Cooper, 2018;Moran 2013;Sorrel & Narayan 1980) and sociological (e.g. Clayton & Leante 2015;Napier 2007;Neuman 1980;Widdess and Sanyal 2004) perspectives, this work is the first to provide a fine-grained phenomenological account of joint musical behaviour in this genre. The term phenomenology refers to a Western philosophical tradition concerned with understanding and describing the invariant structures and a priori conditions of first-person mental/embodied life (see Gallagher & Zahavi, 2012).…”

Section: Introductionmentioning

confidence: 87%

“…The more modest aim is to identify common underlying patterns of experience in these particular cases so as to offer a platform from which we can start to discuss these issues in a systematic and rigorous manner. In addition, I should also clarify that I will not address the various social, economic, and political factors that impinge on performers' social relationships as these have already been addressed elsewhere (Clayton & Leante, 2015;Napier, 2007;Neuman, 1980). While recognizing the broader social environment within which these interactions are embedded, my focus is on uncovering the various levels of reflection involved in musical interaction and the ways in which this affects performers' states of shared subjectivity.…”

Section: Introductionmentioning

confidence: 99%

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'When we connect, there is only music': A phenomenological account of musical connectivity in sitar and tabla

Cooper¹

2020

MPR

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This paper explores the complex relationship between improvised musical interaction and social experience in North Indian sitar and tabla duo performance. As a phenomenological analysis, the main goal of this research is to provide a rigorous and detailed description of the experiential patterns that commonly underlie joint music-making in this genre. This is approached by focusing especially on how positive — particularly peak — musical and social experiences feel. Qualitative data gathered through two case studies involving close collaboration with expert informants is presented and analysed in search for recurrent themes pertaining to these performers’ social experiences, particularly those experiences deemed most cohesive and enjoyable. The analysis is framed according to Høffding’s (2018) phenomenological categorization of musical absorption, and to McGuiness and Overy’s (2011) distinction between co-subjective and intersubjective states of shared subjectivity. Specifically, I consider the role of reflection and communication in promoting feelings of connectivity among performers, particularly during altered states of intense absorption. The outcome of this analysis consists of a phenomenological model of musical connectivity which provides a broad topography of the various kinds of social experiences underlying this genre. This model can also be used — with certain adjustments — to describe the topography of social experiences in any other kind of musical ensemble, thereby allowing for comparative analyses of musical connectivity across genres.

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Section: Introductionmentioning

confidence: 87%

Section: Introductionmentioning

confidence: 99%

'When we connect, there is only music': A phenomenological account of musical connectivity in sitar and tabla

Cooper¹

2020

MPR

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“…Monson's book responds to themes in poststructuralism and sociolinguistics in taking up specific discursive issues relating to interaction, specifically within jazz ensemblesfor instance, the relationship between group cohesion, groove and individual expression, the metaphor of improvisation as conversation, or the relationship between the solidarity of the jazz community and interpersonal competitionillustrating these themes with quotations from musicians and with her own analyses. 2007and those of Napier (2006Napier ( , 2007, and latterly Clayton and Leante (2015) on north Indian classical music.…”

Section: Interpersonal Interaction In Ethnomusicologymentioning

confidence: 98%

The Ethnography of Embodied Music Interaction

Clayton¹

2017

The Routledge Companion to Embodied Music Interaction

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Agency, Social Organization, and the Musical Practices of Jazz Bass Players in Australia

Phipps

2023

Musicology Australia

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The Distribution of Authority in the Performance of North Indian Vocal Music

Cited by 6 publications

References 3 publications

'When we connect, there is only music': A phenomenological account of musical connectivity in sitar and tabla

'When we connect, there is only music': A phenomenological account of musical connectivity in sitar and tabla

The Ethnography of Embodied Music Interaction

Agency, Social Organization, and the Musical Practices of Jazz Bass Players in Australia

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