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"Carnatic music History and criticism."
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The Life of Music in South India
This book offers an account of Carnatic music culture drawing on the knowledge of T. Sankaran, a musician raised in an illustrious non-Brahmin devadasi family, and his long affiliation with cultural institutions including All India Radio (AIR) and the Tamil Isai Sangam (Tamil Music Academy). Sankaran examines the cultural and social matrix in which Carnatic music was cultivated and consumed in mid-twentieth century India, including the ways that musicians negotiated caste politics and the double standard for male and female musicians. The memoir provides insight into the way AIR worked as a modern, bureaucratic institution, and how the opening of government music colleges interacted with caste politics and shifted women's participation in public performance. The book is polyvocal, as Sankaran's writing is interwoven with passages from Daniel M. Neuman's book The Life of Music in North India , which inspired Sankaran's project, as well as transcripts from interviews with Sankaran by Matthew Allen. Includes rare archival photos.
eBook
The Ruins of Nostalgia
What is it to feel nostalgia, to be skeptical of it yet cleave intently to the complex truths of feeling and thought?In a series of 64 gorgeous, ramifying, unsettling prose poems addressing late-twentieth- and twenty-first century experience and its discontents, The Ruins of Nostalgia offers a strikingly original exploration of the misunderstood.
eBook
The Grammar of Carnatic Music
This book argues that Carnatic music as it is practiced today can be traced to the musical practices of early/mid eighteenth century. Earlier varieties or 'incarnations' of Indian music elaborately described in many musical treatises are only of historical relevance today as the music described is quite different from current practices. It is argued that earlier varieties may not have survived because they failed to meet the three crucial requirements for a language-like organism to survive i.e., a robust community of practitioners/listeners which the author calls the Carnatic Music Fraternity, a sizeable body of musical texts and a felt communicative need. In fact, the central thesis of the book is that Carnatic music, like language, survived and evolved from early/mid eighteenth century when these three requirements were met for the first time in the history of Indian music. The volume includes a foreword by Paul Kiparsky.
eBook