Semiosis in Hindustani Music

Vinay Mishra is an accomplished Indian solo and accompanying harmonium player born and brought up in Benaras and currently residing in Delhi serving as a faculty member of the Department of Music, Faculty of Music and Fine Arts, University of Delhi. The rigorous training of both vocal and instrumental music under veteran Hindustani Music virtuosos, the academic and scholarly scope built up till the degree of PhD in Music, the realizations, and understandings on music must have conspicuously made an impact of his practice and artistry as a harmonium player. Harmonium was originated in the west and adopted by Indian musicians in the colonial era which was brought up to the present day through many artistic, cultural and political controversies, and obstacles. This work focuses on discovering the insights of the harmonium art of Vinay Mishra. Hence, his academic background, musical training, musical career, his playing style as a soloist, general techniques and techniques of accompaniment, sense of machinery, perspectives on raga Taal, and thoroughly the tuning methods were studied in-depth through personal conversations and literature resources where it was observed that modern Hindustani harmonium artists favor a typical natural tuning method over the 12 equal temperaments of the common keyboard instruments. According to him, the stable sound of the harmonium was the reason to be vocal music- friendly in classical and light vocal music accompaniment which was only interrupted by the equal temperament earlier and was later overcome by the artists and harmonium makers. The idea was also raised that apart from gaining the basic command of an instrument, a Hindustani instrumentalist may learn and practice all other aspects of Hindustani music from the teachers of other forms too. Vinay Mishra’s thoughts of machinery, musical forms, compositions, applying Hindustani vocal, and plucking string instrumental ornamentations on the Harmonium were also reviewed.

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Music, Exchange, and the Production of Value: A Case Study of Hindustani Music

The Oxford Handbook of Economic Ethnomusicology ◽

10.1093/oxfordhb/9780190859633.013.28 ◽

2020 ◽

Author(s):

Anna Morcom

Keyword(s):

Middle Class ◽

Value Creation ◽

Performing Arts ◽

Theoretical Work ◽

Knowledge And Skills ◽

The Past ◽

Objective Value ◽

Hindustani Music ◽

Theory Of Value

This chapter uses Hindustani music as a case study, developing anthropology’s theoretical work on value and exchange toward the analysis of music. It focuses on the action-based theory of value devised by Nancy Munn (1986) and later developed by David Graeber (2001). Rather than something residing “in the music,” value is viewed as entirely social, and ephemeral, generated by acts and the codification of acts into distinctive patterned aesthetic forms. The chapter refines the analysis through Annette Weiner’s concept of “inalienable possessions,” that is, things which are not necessarily costly or of any objective value, but have gained immeasurable and irreplaceable value to particular groups in particular times and places through “keeping while giving,” and which inscribe lineage, heredity, and history. This enables an exploration of how history and transmission operate in value creation in the context of music and performing arts. The chapter also develops theoretical work on exchange to analyze musical performance, where what is “given” or “received” is intangible and highly subjective, making it particularly unpredictable in its value and with potential for immense excess and thereby implications for obligations, attachments, or even devotion. Thus, the chapter explores how the complex web of behaviors, discourse, knowledge, and skills variously continued, adapted, and discontinued from the past, and with new strands woven in, constantly re-create Hindustani music as an inalienable possession for middle-class audiences, for whom basic templates of value are in many ways radically opposed to those of the original patrons and performers.

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“A Christy Minstrel, a Harlequin, or an Ancient Persian”?: Opera, Hindustani Classical Music, and the Origins of the Popular South Asian “Musical”

Theatre Survey ◽

10.1017/s0040557420000265 ◽

2020 ◽

Vol 61 (3) ◽

pp. 331-350

Author(s):

Rashna Darius Nicholson

Keyword(s):

South Asian ◽

Classical Music ◽

Film Music ◽

Musical Form ◽

Colonial Modernity ◽

Musical Cultures ◽

Marching Bands ◽

History Of ◽

Hindustani Music ◽

Musical Genres

The story of South Asian colonial modernity and music offers up a multidirectional and polymorphous conceptual terrain featuring, among many agents, Hindustani royalty, touring minstrel and burlesque troupes, Jesuit missionaries and orientalists, and not least, social reformists. Nevertheless, scholarship on the history of Hindustani music consistently traces its development through classicization against the rise of Hindu nationalism while overlooking other palpable clues in the colonial past. This article argues for a substantial reevaluation of colonial South Asian music by positing an alternative and hitherto invisible auditory stimulus in colonial Asia's aural landscape: opera. Janaki Bakhle contends that “as a musical form, opera put down even fewer roots than did orchestral, instrumental Western classical music,” even though she subsequently states that “Western orchestration did become part of modern ceremonial activities, and it moved into film music even as it was played by ersatz marching bands.” Bakhle further argues that Hindustani music underwent processes of sanitization and systematization within a Hindu nation-making project, a view that has been complicated by historians such as Tejaswini Niranjana. Niranjana describes how scholarship that focuses exclusively on the codification or nationalization of Hindustani music through the interpellation of a Hindu public neglects “sedimented forms of musical persistence.” Not dissimilarly, Richard David Williams highlights how the singular emphasis on the movement of Hindustani music reform risks reducing the heterogeneous and complex musicological traditions in the colonial period to the output of a single, monolithic, middle-class “new elite.” Previous scholarship, he argues, concentrates on “one player in a larger ‘economy’ of musical consumption.” Following these calls for more textured perspectives on South Asian musical cultures, I suggest a somewhat heretical thesis: that opera functioned as a common mediating stimulus for both the colonial reinscription of Hindustani music as classical as well as the emergence of popular pan-Asian musical genres such as “Bollywood” music.

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