scholarly journals Developing Trends of Music in the Vedic and Mythological Eras

2021 ◽  
Vol 7 (1) ◽  
pp. 60-65
Author(s):  
Ramesh Pokharel
Keyword(s):  
South Asian ◽  
World Literature ◽  
Classical Music ◽  
Religious Texts ◽  
South Eastern ◽  
The People ◽  
History Of ◽  
Expression Of Emotions

The Vedas are religious texts which inform the religion of Hinduism also known as Sanatan Dharma; meaning eternal order or eternal Path. The Vedic – mythological period is considered to be the golden era in the history of world literature. Not only did the philosophy of the age reach a new pinnacle; but even aspects of music, art, culture, literature, sculpture, religion, and spiritualism were extended to their highest point. Amongst these cultural instruments, Music represents vocal and instrumental sounds combined in such a way as to produce beauty of form, harmony and expression of emotions. During this era music – vocal and instrumental were held in high respect in society. Music had both ritual and secular aspects. Sāmaveda is considered as the root of Vedic music as well as the root of today's south Asian classical music. Sāmagāna was considered as the sound of inspiration for the people of that age. This paper attempts to discuss the musical situations in Vedic and Mythological periods regarding its origin, development, extension and practices in ancient south-eastern i.e. Hindu civilization. The paper also points out why the need and importance of Vedic music in present day society is much more; especially in regards to the adoption of lessons and ethics from Sanatan Hinduism.

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

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.

Early years of East India Company rule in Chittagong: Violence, waste and settlement c. 1760–1790

2018 ◽  
Vol 55 (2) ◽  
pp. 147-181 ◽  
Author(s):  
Anandaroop Sen
Keyword(s):  
South Asian ◽  
Early Years ◽  
East India Company ◽  
The South ◽  
Property Relations ◽  
The People ◽  
British East India Company ◽  
History Of ◽  
Frontier Studies ◽  
The Way

This article probes the production of the uplands of Chittagong in the early years of British East India Company (EIC)rule in Bengal and its eastern frontiers. The South Asian debates around the nature of agrarian property relations have largely skipped places like Chittagong uplands, consequently, the uplands appear in academic and popular discussions as an already constituted outside to this agrarian historiography. The history of the uplands then become easily separated and consumed as part of frontier studies. The article seeks to address the constitution of this outside. Narrating a story where the protagonists range from influential Bengali middlemen in EIC retinue, Company officers responsible for Chittagong administration to mobile Arakanese men called ‘Magh zamindars’, brought together in a swirl of forged documents and contending claims to ‘wastelands’, the article glimpses into the complex interlocking between upland and lowland networks of Chittagong. It frames this narrative by unpacking the revenue categories of sair and kapas mahal; the two categories used for Chittagong uplands during this period. Disaggregating them allows one to see how the uplands were created in the image of the commodity cotton: the people who produced it, the way it was exchanged and the violence that marked the process.

scholarly journals AN ANALYSIS OF THE CHARACTERISTICS OF MUSIC CREATION IN MEFISTOFELE

2021 ◽  
Author(s):  
LING YANG ◽  
SHENG-DONG YUE
Keyword(s):  
Aesthetic Experience ◽  
Classical Music ◽  
16Th Century ◽  
Specific Language ◽  
Complex Emotions ◽  
Internal Structures ◽  
True Meaning ◽  
History Of ◽  
Expression Of Emotions ◽  
The Aesthetic

Successful opera art cannot be separated from literary elements, but also from the support of music. Opera scripts make up plots with words. Compared with emotional resonance directly from the senses, music can plasticize the abstract literary image from the perspective of sensibility. An excellent opera work can effectively promote the development of the drama plot through music design, and deepen the conflict of drama with the "ingenious leverage" of music. This article intends to analyze the music design of the famous opera, Mefistofele, and try to explore the fusion effect of music and drama, and its role in promoting the plot. After its birth at the end of the 16th century and the beginning of the 17th century, western opera art quickly received widespread attention and affection. The reason for its success is mainly due to its fusion of the essence of classical music and drama literature. Because of this, there have always been debates about the importance of music and drama in the long history of opera art development. In the book Opera as Drama, Joseph Kerman, a well-known contemporary musicologist, firmly believes that "opera is first and foremost a drama to show conflicts, emotions and thoughts among people through actions and events. In this process, music assumes the most important performance responsibilities."[1] Objectively speaking, these two elements with very different external forms and internal structures play an indispensable role in opera art. A classic opera is inseparable from the organic integration of music and drama, otherwise it will be difficult to meet the aesthetic experience expected by the audience. On the stage, it is necessary to present wonderful audio-visual enjoyment, and at the same time to pursue thematic expressions with deep thoughts, but the expression of emotions in music creation must be reflected through its independent specific language rather than separated from its own consciousness. Only through the superb expression of music can conflicts, thoughts and emotions be fully reflected, or it may be reduced to empty preaching. Joseph Kerman once pointed out that "the true meaning of opera is to carry drama with music". He believes that opera expresses thoughts and emotions through many factors such as scenes, actions, characters, plots and so on. However, the carrier of these elements lies in music. Only under the guidance and support of music can the characters, thoughts and emotions of the drama be truly portrayed. Indeed, opera scripts fictional plots with words, and music presents abstract literary image specifically and recreationally, allowing more potentially complex emotions that are difficult to express in words to be perceived by the audience in the flow of notes, thereby resonate with people.[2] Mefistofele, which this article intends to explore, is such an opera that is extremely exemplary in the organic integration of music and drama.

scholarly journals LANGUAGE FEATURES OF BOOKS FOR CHRISTIAN TATARS AND KARAMAN TURKS

2019 ◽  
Vol 8 (7) ◽  
Author(s):  
Okan Guler ◽  
Zoya N. Kirillova ◽  
Liaisan Sahin
Keyword(s):  
Theoretical Basis ◽  
Linguistic Features ◽  
Literary Works ◽  
Religious Texts ◽  
Language Groups ◽  
The People ◽  
Comparative Aspect ◽  
History Of ◽  
The Subject ◽  
First Time

This article is carried out in line with comparative studies and is devoted to the study of the specific language features of baptized Tatars and Karamanlid Turks. The need to study this topic is caused by increased attention to the Kryashen and Karamanlid dialects, their linguistic features and history. The objects of study were religious texts, textbooks and literary works in Kryashen and Karamanlid dialects. As the subject of the study, the language features of these texts were examined, as well as the history of the appearance of baptized Tatars and Karamanlid Turks. The scientific novelty of this work lies in the fact that the Kryashen and Karamanlid dialects were studied for the first time in a comparative aspect. The analysis was based on data from a continuous sample of explanatory, etymological, encyclopedic dictionaries of the Tatar, Turkish, and Ottoman-Turkish languages ​​based on the following sources: religious texts, textbooks, and literary works. The theoretical basis of this study is the following main points: language and religion are interconnected and interdependent; phonetic and lexical features reflect the specifics of the language; sacred texts, textbooks and literary works make it possible to identify the history and origin of the people, the belonging of the language to certain language groups

Automation and Collection Management

2013 ◽  
pp. 37-61
Author(s):  
Annette Bailey ◽  
Edward Lener ◽  
Leslie O’Brien ◽  
Connie Stovall
Keyword(s):  
Web Services ◽  
Mass Production ◽  
New Products ◽  
Printing Press ◽  
Collection Management ◽  
Religious Texts ◽  
Library Automation ◽  
The People ◽  
Technological Advances ◽  
History Of

The history of library automation can be traced to early printing methods of the 7th century A.D. The earliest collectors of books were usually religious scholars who amassed the religious texts of the day. Monks from East and West travelled great distances and often at great peril to gather meticulously hand-copied texts. Early inventions of woodblocks, and, later the printing press, enabled the mass-production of books that resulted in libraries’ expansion into the secular world. Librarians have continued to bring technological advances into their work, combining web services, programming scripts, and commercial databases and software in innovative ways. The processes of selection, deselection, and assessment have been enhanced through these new products and services. The authors discuss a variety of technological applications for collection activities that have allowed collection managers to work more efficiently and better understand the use of their print and electronic collections. The effects of automation on the people involved in collection management are also explored.

SEJARAH KONFLIK KEBANGKITAN ISLAM DI MINANGKABAU: Sebuah Tinjauan Awal Terhadap Proses Kemunculannya

2018 ◽  
pp. 33-48
Author(s):  
Ihsan Sanusi
Keyword(s):  
Human Life ◽  
Initial Period ◽  
Analysis Model ◽  
Islamic Revival ◽  
Religious Texts ◽  
Interactive Analysis ◽  
The Past ◽  
The Reformation ◽  
History Of ◽  
Correct Understanding

This article in principle wants to examine the history of the emergence of the conflict of Islamic revival in Minangkabau starting from the Paderi Movement to the Youth in Minangkabau. Especially in the initial period, namely the Padri movement, there was a tragedy of violence (radicalism) that accompanied it. This study becomes important, because after all the reformation of Islam began to be realized by reforming human life in the world. Both in terms of thought with the effort to restore the correct understanding of religion as it should, from the side of the practice of religion, namely by reforming deviant practices and adapted to the instructions of the religious texts (al-Qur'an and sunnah), and also from the side of strengthening power religion. In this case the research will be directed to the efforts of renewal by the Padri to the Youth towards the Islamic community in Minangkabau. To discuss this problem used historical research methods. Through this method, it is tested and analyzed critically the records and relics of the past. In analyzing the data in this research basically used approach or interactive analysis model by Miles and Huberman. In this analysis model, the three components of the analysis are data reduction, data presentation, and conclusion drawing or verification, the activity is carried out in an interactive form with the process of collecting data as a process that continues, repeats, and continues to form acycle.

“The Fumes of Polonism and the Stench of Herzenism”: “Vestnik Zapadnoy Rossii” Against Class Revolution and Clas Reaction

2020 ◽  
Vol 58 ◽  
pp. 118-134
Author(s):  
Aleksandr E. Kotov
Keyword(s):  
Short History ◽  
South West ◽  
The People ◽  
History Of ◽  
Stereotypical Image

The journal of Ksenofont A. Govorsky “Vestnik Yugo-Zapadnoy I Zapadnoy Rossii” (“South-West and West Russia Herald”) is known in the history of pubic thought as odious and reactionary. However, this stereotypical image needs some revision: the anti-Polish discourse on the pages of the magazine was not so much nationalistic as anti-aristocratic in nature. Considering the “Poles” primarily as carriers of the aristocratic principles, the editorial board of the magazine claimed to protect the broad masses of the people. Throughout its short history, the magazine consistently opposed both revolutionary and aristocratic propaganda. However, the regional limitations of the problems covered in the magazine did not give it the opportunity to reflect on the essential closeness of the revolutionary and reactionary principles. Yu.F. Samarin and I.S. Aksakov – whose conservative-democratic views, on the whole, were close to “Western Russianism”, promoted by the authors of “Vestnik Yugo-Zapadnoy I Zapadnoy Rossii”, managed to reach that goal.

LEADERS AND TIMES OF CRISIS: JEREMIAH 5:1–6 A CASE IN POINT

2017 ◽  
Vol 24 (2) ◽  
pp. 657-677 ◽  
Author(s):  
Wilhelm J. Wessels
Keyword(s):  
Ordinary People ◽  
Covenant Theology ◽  
The People ◽  
History Of ◽  
Book Of Jeremiah ◽  
Definitive Role ◽  
Ethical Obligations ◽  
Moral Demands ◽  
The Way ◽  
Crisis Situations

The book of Jeremiah reflects a particular period in the history of Judah, certain theological perspectives and a particular portrayal of the prophet Jeremiah. Covenant theology played a major role in Jeremiah’s view of life and determined his expectations of leaders and ordinary people. He placed high value on justice and trustworthiness, and people who did not adhere to this would in his view bear the consequences of disobedience to Yahweh’s moral demands and unfaithfulness. The prophet expected those in positions of leadership to adhere to certain ethical obligations as is clear from most of the nouns which appear in Jeremiah 5:1–6. This article argues that crisis situations in history affect leaders’ communication, attitudes and responses. Leaders’ worldviews and ideologies play a definitive role in their responses to crises. Jeremiah’s religious views are reflected in his criticism and demands of people in his society. This is also true as seen from the way the people and leaders in Judah responded to the prophet’s proclamation. Jeremiah 5:1–6 emphasises that knowledge and accountability are expected of leaders at all times, but in particular during unstable political times.

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