Hindustani Classical Music in Sri Lanka: A Dominating Minority Music or an Imposed Musical Ideology?

2020 ◽  
Vol 6 ◽  
pp. 41-50
Author(s):  
Chinthaka Prageeth Meddegoda
Keyword(s):  
Sri Lanka ◽  
Performing Arts ◽  
South India ◽  
Classical Music ◽  
Minority Group ◽  
North India ◽  
13Th Century ◽  
South Indian ◽  
Indian Music ◽  
Hindustani Classical Music

In Sri Lanka, the various groups of Tamils are jointly the largest minority group who migrated from different places of South India and in different time periods. South Indian music is widely appreciated and learnt by both the Sinhala including by large parts of the Tamil minority spread over Sri Lanka. Although a number of Sinhala people prefer and practice North Indian music geographically, and probably culturally, they are much closer to South India than to North India. Some historical sources report that Sinhalese are descendants of North Indians who are believed to be Aryans who migrated from Persia to the Northern part of India in the 13th century and later. Therefore, some scholarly authorities believe that the Sinhalese ‘naturally’ prefer North Indian music as they also continue the suggested Aryan heritage. Nevertheless, some other sources reveal that the North Indian music was spread in Sri Lanka during the British rule with the coming of the Parsi Theatre (Bombay theatre), which largely promoted Hindustani raga-based compositions. This paper explores selected literature and opinions of some interviewees and discusses what could be the reasons for preferences of North Indian music by the Sinhalese. The interviewees were chosen according to their professional profile and willingness to participate in this research. As a result, this paper will offer insights through analysing various opinions and statements made by a number of interviewees. The research also considered some theories which may relate to the case whether Hindustani classical music is due to these reasons a dominating minority culture or a rather self-imposed musical ideology. The latter would establish an aesthetic hierarchy, which is not reflected in the cultural reality of Sri Lanka. This is a new research scrutinizing a long-term situation of performing arts education in this country taking mainly interviews as a departing point.

scholarly journals Structural Levels in South Indian Music

2015 ◽  
Vol 21 (4) ◽  
Author(s):  
Michael Schachter
Keyword(s):  
South India ◽  
Classical Music ◽  
Voice Leading ◽  
Musical Practice ◽  
Background Structure ◽  
South Indian ◽  
Close Analysis ◽  
Indian Music ◽  
Structural Levels

In the present study, I propose a theory of structural levels in Karnatak music, the classical music of South India. In the characteristic patterns of melodic ornamentation and phrase construction that contribute to the identity of a raga, as well as in formal approaches to composition and improvisation, Karnatak musical practice involves sophisticated elaborations of simple voice-leading strands that themselves elaborate a normative background structure. My theory draws on precedents in Indian musical scholarship, firsthand accounts of practitioners, and close analysis of performances (including those of T. M. Krishna, Bombay Jayashree, Lalgudi Jayaraman, Ranganayaki Rajagopalan, and Karaikudi S. Subramanian) and compositions (including those by Tyagaraja, Muthuswamy Dikshitar, and Papanasam Sivan).

Phylogeny based on 16S rDNA andnifHsequences ofRalstonia taiwanensisstrains isolated from nitrogen-fixing nodules ofMimosa pudica, in India

2004 ◽  
Vol 50 (5) ◽  
pp. 313-322 ◽  
Author(s):  
Subhash Chandra Verma ◽  
Soumitra Paul Chowdhury ◽  
Anil Kumar Tripathi
Keyword(s):  
16S Rdna ◽  
South India ◽  
Restriction Analysis ◽  
Cross Reaction ◽  
North India ◽  
Mimosa Pudica ◽  
Free Living ◽  
South Indian ◽  
Indian Isolates ◽  
Dinitrogenase Reductase

Bacterial symbionts present in the indeterminate-type nitrogen (N)-fixing nodules of Mimosa pudica grown in North and South India showed maximum similarity to Ralstonia taiwanensis on the basis of carbon-source utilization patterns and 16S rDNA sequence. Isolates from the nodules of M. pudica from North India and South India showed identical ARDRA (Amplified Ribosomal DNA Restriction Analysis) patterns with Sau3AI and RsaI, but AluI revealed dimorphy between the North Indian and South Indian isolates. Alignment of 16S rDNA sequences revealed similarity of North Indian isolates with an R. taiwanensis strain isolated from M. pudica in Taiwan, whereas South Indian isolates showed closer relatedness with the isolates from Mimosa diplotricha. Alignment of nifH sequences from both North Indian and South Indian isolates with that of the related isolates revealed their closer affinity to α-rhizobia, suggesting that nif genes in the β-rhizobia might have been acquired from α-rhizobia via lateral transfer during co-occupancy of nodules by α-rhizobia and progenitors of R. taiwanensis, members of the β-subclass of Proteobacteria. Immunological cross-reaction of the bacteroid preparation of M. pudica nodules showed strong a positive signal with anti-dinitrogenase reductase antibody, whereas a weak positive cross-reaction was observed with free-living R. taiwanensis grown microaerobically in minimal medium with and without NH4Cl. In spite of the expression of dinitrogenase reductase under free-living conditions, acetylene reduction was not observed under N-free conditions even after prolonged incubation.Key words: symbiotic nitrogen fixation, Mimosa pudica, rhizobia, phylogeny, 16S rDNA, nifH, Ralstonia taiwanensis.

Rediscovery, extended enumeration and conservation assessment of Henckelia lyrata (Gesneriaceae) in Western Ghats, India

Phytotaxa ◽  
2016 ◽  
Vol 284 (2) ◽  
pp. 147
Author(s):  
M.P. GEETHAKUMARY ◽  
S. DEEPU ◽  
A.G. PANDURANGAN ◽  
E.S. SANTHOSH KUMAR
Keyword(s):  
Sri Lanka ◽  
Western Ghats ◽  
South India ◽  
Morphological Characters ◽  
The Philippines ◽  
Indian Species ◽  
Conservation Assessment ◽  
South Indian ◽  
Southern Thailand ◽  
The Western Ghats

The generic name Henckelia Sprengel (1817: 402) was proposed in honor of Leo F. V. Henckel von Donnersmark (1785–1861), a German administrator and passionate botanist. However, even though the genus had priority over Didymocarpus Wallich (1819: 378), in view of its wider usage the latter name was conserved (Vitek et al. 2000). Henckelia Sprengel (1817: 402) was resurrected from synonymy of Didymocarpus by Weber & Burtt (1997), separating them by an array of morphological characters, to give a more natural taxonomic unit. The genus Henckelia has about 180 species distributed from south India and Sri Lanka over Sumatra, southern Thailand, Malaya Peninsula, Borneo to the Philippines, Sulawesi and New Guinea. It accommodates most of the south Indian species formerly placed in Didymocarpus (Middleton et al. 2013). At present, 30 species are known to occur in India, of which 13 are endemic to the Western Ghats (Janeesha & Nampy 2015).

scholarly journals A STUDY OF MUTHUSWAMI DIKSHITAR’S EXPERTISE ON VARIOUS ELEMENTS OF MUSICOLOGY REFLECTED THROUGH HIS COMPOSITIONS

2021 ◽  
Vol 2 (2) ◽  
pp. 83-92
Author(s):  
Utpala Karanth ◽  
Dr. R Rangan
Keyword(s):  
Music Theory ◽  
Classical Music ◽  
The South ◽  
Sufficient Knowledge ◽  
South Indian ◽  
Indian Classical Music ◽  
Indian Music ◽  
Ancient Texts

Musicology is the study of scientific and intellectually handling of music. This is a colossal subject of music and inquest into the History and phenomenon of music including; life and works of Composers and performers, music theory like melody, rhythm, harmony, modes, aesthetics, form etc. The Historical evidences of Indian Classical music have been discussed in several ancient texts like Veda’s, Upanishads, epics way back 2000 years ago. The Rigveda, Yajurveda, Samaveda and Atharvaveda contains ritual hymns and incantations (vedic chants) , praising the specific dieties during the Sacrificial rituals. The South Indian music has a phlegmatic and pedagogic nature when compared with the music of other unconsecrated Hindustani traditions. This paper highlights the proficiency of Dikshitar’s knowledge of Musicology bequeathed from his father Ramaswami Dikshitar, a scholar, musician, learned musicologist, and recipient of many honours and emoluments in the knowledge of music gained sufficient knowledge in musicology who had settled down at Tiruvarur where Dikshitar was born. Tiruvarur then was a seat of learning of Sanskrit and Vedanta. Dikshitar’s compositions reflect his deep and thorough knowledge widely through the interpretation of their literature as seen in famous compositions like ‘Vatapi Ganapatim Bhaje’, ‘Amrutavarshini’ and others will be discussed with the various rasas created through the ragas as enunciated in the Natyashastra of Bharat Muni.

TRACE ELEMENT ANALYSIS OF SOUTH INDIAN GALLSTONES BY PIXE

2002 ◽  
Vol 12 (03n04) ◽  
pp. 137-144 ◽  
Author(s):  
M. ASHOK ◽  
S. NARAYANA KALKUPA ◽  
V. J. KENNEDY ◽  
A. MARKWITZ ◽  
V. JAYANTHI ◽  
...  
Keyword(s):  
South India ◽  
Elemental Concentration ◽  
Trace Element Analysis ◽  
North India ◽  
Element Analysis ◽  
Cholesterol Gallstones ◽  
South Indian ◽  
Pigment Gallstones ◽  
Copper Zinc ◽  
Experimental Subjects

Particle Induced X-ray Emission (PIXE) was used to analyse the elemental concentration of gallstones collected from different parts of south India. Cholesterol gallstones are predominant in north India, whereas pigment gallstones are predominant in south India. The black pigment gallstones are common in hemolytic anemia or in presence of infected bile. PIXE has revealed the elemental profile in each sample. The experimental subjects of the different groups displayed significant variation in their levels of certain trace elements such as copper, zinc, and iron. The concentration of copper was found to be predominant in pigment gallstones investigated in the present study.

scholarly journals Diversity in the cag pathogenicity island of Helicobacter pylori isolates in populations from North and South India

2010 ◽  
Vol 59 (1) ◽  
pp. 32-40 ◽  
Author(s):  
Sushil Kumar ◽  
Ashok Kumar ◽  
Vinod Kumar Dixit
Keyword(s):  
Helicobacter Pylori ◽  
South India ◽  
Rflp Analysis ◽  
Variable Region ◽  
Pathogenicity Island ◽  
North India ◽  
South Indian ◽  
Pcr Rflp ◽  
H Pylori ◽  
North And South

The cag pathogenicity island (cagPAI) has been reported to be the major virulence determinant in Helicobacter pylori-related diseases. In the present study, the diversity of the cagA gene and the integrity of the cagPAI in 158 H. pylori strains from Varanasi (North India) and Hyderabad (South India) were studied by amplifying the cagA gene (∼3.5 kb), followed by PCR-RFLP analysis. The results revealed significant differences in the cagA gene and the integrity of the cagPAI between North and South Indian isolates. Of 158 isolates, 40 (34.8 %) from Varanasi and 20 (46.5 %) from Hyderabad were found to carry an intact cagPAI. A partially deleted cagPAI was present in 75 (65.2 %) isolates from Varanasi and 23 (53.5 %) from Hyderabad. None of the isolates showed complete deletion of the cagPAI. Differences in the cagA 5′ and 3′ regions were also noted, and 11 isolates (8 from Varanasi and 3 from Hyderabad) that were cagA negative with primers for the 5′ region turned out to be cagA positive with primers for the 3′ variable region. It is tentatively concluded that the 3′ variable region may be a better marker for cagA typing. The results also showed that the majority of the isolates harboured the Western-type EPIYA motif. PCR-RFLP analysis of the cagA gene showed 29 distinguishable digestion patterns, and cluster analysis of RFLP types from a random selection of 32 isolates placed all of the isolates into 5 groups. These results demonstrate that significant differences in the cagPAI occur among isolates from North and South India, and that RFLP of cagA could be employed for elucidating genetic variations among various isolates of H. pylori.

Reflecting surfaces: the use of elements from Indian music in popular music and jazz

Popular Music ◽  
1988 ◽  
Vol 7 (2) ◽  
pp. 189-205 ◽  
Author(s):  
Gerry Farrell
Keyword(s):  
Popular Music ◽  
Classical Music ◽  
Indian Subcontinent ◽  
North India ◽  
Western Music ◽  
Pop Music ◽  
The World ◽  
The Sixties ◽  
Indian Music ◽  
Reflecting Surfaces

In this article I explore the manner in which elements from a non-Western music appear in pop music and jazz. The music under discussion is that of the Indian subcontinent and the classical music of North India in particular. The essay covers references to Indian music in pop, rock and jazz from the sixties to the present day but concentrates mainly on the sixties and seventies, and, in the world of pop, on the music of the Beatles. The influence of orientalism on Western music is not a recent phenomena, as Reck (1985) notes, but its appearance in pop during the sixties meant that it reached a larger audience than ever before.

ROLE OF COMMUNICATION TOOLS IN THE PROMOTION OF MUSIC

2015 ◽  
Vol 3 (1SE) ◽  
pp. 1-4
Author(s):  
Mrs. Asha Khare
Keyword(s):  
Folk Music ◽  
South India ◽  
North India ◽  
Communication Tools ◽  
Famous Book ◽  
Great Poet ◽  
Indian Music

Hegel, a well-known scholar of Jammani, has placed music in the category of love arts. Indian music has been called the essence of all four languages. Music has been worshiped extensively in India and has been worshiped as Veena Vavadani. Sa vidya or liberation is music. In the divine period, the reins of music were in the hands of Brahmins. In this period, music flourished in religious atmosphere. Samudragupta was self-effacing. In this period, music began to develop in Rajashraya. Classical and folk music was also promoted. Kaval Das and Bhasa, the great poet and playwright of Sanskrit, wrote important texts in this period. The Rajputs were ruled after the Gupta period. Indian music, which was embedded in the thread of unity, began to be divided into two streams, the music of North India and the music of South India. Important texts of music were written. In the Muvassalam era, Sharangadee wrote a famous book of music called Sangeet Ratnakara. During this period, Amir Khusro brought a new verse in the field of music. The origins of the plants became popular for singing songs and singing ghazali. Bhagakat music was emphasized during the Mughal period. Dhrupad Dhamar singing was popular. The reign of Akbar in the Mughal period has been called the era of music. During this period, musicians and artists enjoyed royalty, and art greatly developed.

scholarly journals RELATION OF ANCIENT MATARAM TEMPLE BASED ON NORTH INDIA AND SOUTH INDIA’S CHARACTERISTICS: FROM THE FIGURE-TECTONICS, MASS-SPACE STUDY, AND ORNAMENTATION

2021 ◽  
Vol 5 (04) ◽  
pp. 334-347
Author(s):  
Samuel H. B. Danuleksono ◽  
Rahadhian Prajudi Herwindo
Keyword(s):  
Spatial Planning ◽  
South India ◽  
Reverse Flow ◽  
North India ◽  
Traditional Values ◽  
Central Java ◽  
South Indian ◽  
Close Relationship ◽  
The Relationship ◽  
North And South

Abstract- Hinduism is a religion that was born in India and has developed rapidly into the archipelago with evidence of Sanskrit inscriptions and Pallava. The religion had a significant influence on Java which changed the political, economic, social and cultural life which at that time was still a kingdom. The arrival of Indians to Indonesia affected by the reverse flow between Indonesia and India and India and Indonesia. This can be seen by the presence of Indonesian dormitories in Nalanda (North India) and Nagapattinam (South India). The influence of North and South India can be seen from the existence of Hindu-Buddhist temples in the Archipelago which was built in one of the Hindu kingdoms, namely the Kingdom of Ancient Mataram which had areas of authority from Central Java to East Java. The temples that were built are thought to have an identity with temples in North and South India in terms of figure, inner space tectonics, mass layout, spatial planning, and ornamentation. This identity is thought to be a close relationship between North India and South India with Indonesia, especially in the era of Ancient Mataram. The purpose of this study is to find out the relationship or relationship of Ancient Mataram era temple architecture to North and South Indian temple architecture. The analysis method used is the comparative – qualitative method. Work plans, plans, pieces, site plans, and block plans of 28 Hindu-Buddha tower types in Central Java will be compared in terms of similarities and differences and then analyzed regarding the position of the laying, and elements of the temple so that the relationship between the two countries is found. Data obtained from literature studies and field surveys. The conclusion drawn from this study is that there is a closer relationship with South India than North India. The influence of North India and South India is only limited to the external appearance in the study of figure and ornamentation, while in the study of mass and spatial planning and inner space tectonics is more developed by the people of Ancient Mataram which is adjusted to traditional values and natural influences.     Key Words: figure, tectonics, mass layout, spatial planning, ornamentation, North and South India, Ancient Mataram

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