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Understanding Ethnomusicology- A Music of India

 As we all know music is multidimensional subject deals with practical and theoretical aspect and both of these have a strong tie-up as we see as academic and knowledge purpose.

Ethnomusicology is a branch of Music- A Musicology that deals with non western countryside music. Initially it was name as ethnomusicology by Dutch Musicologist  Jaap Kunst after second world war emphasising the study the tribal and folk music outside the Europe. Ethnomusicology is a scientific study of Folk and Tribal Music that transcribe and enrich the oral tradition of rural music. India has a diverse culture and have hundreds of cultural diversity. Hundreds  of tribal communities, variety of ethnic groups and linguistic diversity make the Indian Music rich and diverse. Basically the Music in Indian have two major root-Classical and Folk. Folk part is further divided in traditional, tribal and rituals-religious music. in India we prefer to say the study of Intercultural Musicology rather than ethnomusicology because the term Ethnomusicology sometimes reflects the discrimination  of Europeans vs rest of the world. Asian and oriental music is always called and ethnic music by the musicologist of Europeans forgetting that ethnicity is not part of their culture. The truth is long away from home but these kind of biases polarise the culture, music and entire world because we all are human, no one is superior or inferior. The color, language and the physique are the part of live-hood and the gift of the nature as per the inhabitation. 

Ethnomusicology more or less emphasise on the objective of musical research based on the folk and traditional part of the music. It can be said the study of the Ethnic people and their musical tradition. It can be said as the Cultural-Ethnography and Social-Anthrophology of Man and Music.  Folk music in Indian subcontinent is highly associated with religious and rituals values. The Tribal music is also associated with traditional belief and part of celebration in their day to day life. It is a kind of extempore creativity, living with the music in tribal village, that people celebrates the raw form of music having no predefined pitch or rhythms but have a legacy and the oral tradition that transfer form one generation to another generation. The folk music in India in every 50km distance have different taste and different tune. travelling from Manipur to Guhjrat or Kashmir to Kanyakumari one can encounter thousands of musical variation and colors of folk tradition. 

Ethnomusicology in Indian has a wider scope of research because we have least exposure with cyber pollution in the remote location, however the rapid growth in smart phone and its coverage deadly hit the traditional part of the Indian culture and musical tradition. There is no doubt increasing mobile network in remote location and countryside helps folks in various ways but it severely hits the culture and music. Inter culture transition in India is not a new deal, we live together for hundreds of thousands of year ago and share the day to day life in very moment. Brahmans- Kshitriya - Vaishye- and Shudra were the four major caste in Indian and each of the them were superior in their work and there were no discrimination what we used to hear in present days. The purpose of these title division was mainly as per their work and profession, no connection of inferior or superior. In North Mangol and Kirat, in south Dravid in west Pathan, In East -Tribes, and so may other communities were inhabited and sharing the cross cultural that flourish the Desi and Margi Sangeet at the same time. 

The music of Kirat is different than the music of Dravid and the music of Brahman is different than the music of Tribes. Even in same community the music of one tribe is different than the music of another tribe. Music of Brahman of Mithila is different than the Music of Brahman of Awad. Thus Musicology-Ethnomusicology in India has a different approach of study. we need to understand the people and their life style. day to day life to understand the musical legacy of the people of particular community.  To understand the Cross cultural musicology, one should live with people and need to observe them, their day to day practice and performance of daily life than only one can understand the musical approach, the message and the meaning of the cultural and musical celebration. The rituals and religious belief varies from one place to another place  so bookish knowledge remain frozen when one travel to extreme remote location to observe the musical legacy of the people. 

In general the music tradition of the folks are different than what are taught in the books. Folk tradition does not remain same for longer period. It is like the flow of river and changes with time and location, it recreate its own shape on its flow so folk music transcribed a decade before is not the same, even in last five year so many changes may occurs because society is in rapid transition phase because of several modern impact thats why it is quite challenging to declared the aboriginal form of the folk music. 

Study of Cross-Cultural Musicology in India has a huge potential but also have challenges too.   Because of huge cultural diversity we can find variety of musical forms and its cross cultural connection but is also quite hard to distinguish the nuance of the music. 

Ethnomusicology in Indian should be the part of syllabi in undergraduate and postgraduate students that they could recall the socio-cultural status of their locality. It should be the part par of music syllabi too in universities that more research can be done in this area to know the fragrance and nuance of the cross-cultural musicology. 

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Patron-Musicians:- A socio Imperialism in Sikkim

Patrons-Musicians' relations has been discussed in a variety of context over the years in different disciplines. There are a wide range of study on patrons-musicians' relations in Sikkim. The studies dwell on economic interaction with music between upper caste and the lower caste. In Sikkim there are mainly three musicians caste the Damai, the Badi and Gaine who directly or indirectly provide auspicious music to other castes. However, these auspicious music makers are untouchable from whom the food and water may not be accepted. The musician caste Damai are the musicians cum tailor with whom traditional way of patronage is still alive in the countryside. This study oriented on the social and traditional way of patronage among the Dalit Caste the Damai Musicians. This study is important to understand the social interaction and social transformation of Damai musician in Sikkim. Researcher visited to the remote village of Dalits in Sikkim and study the distinct culture of musician and the way of patronage. After the peasantry become weak and the influence of modern music become strong, the loop of traditional way of patronage become feeble. Because of urbanism and modern influence in music, Damai musicians change the traditional way of patronize and become the professional. The instruments like Damaha, Temko, Sahanai, Narsingha and Jhyali they only used to play for the patrons' in all rituals accordingly in traditional way but after the education empowerment, and the caste system and untouchable means is in declining position, the Damai musicians get more opportunity to spread away. Thus, the so-called impure caste is surviving by means of music in modern ways of patronage. The lifestyle in which they are still living in remote countryside is below than the average and they are suffering from hand to mouth. Dalits or untouchable caste, from whom water may not be accepted but, plays auspicious and pure music in most of the Hindu religious festival and rituals. The orthodox society and the musician caste are still in loop, however the way of patronizing is changing, and the relation between the patron castes and the musician caste is still surviving because of auspicious and pure music among the impurity.

The Research Paper was written when appointed as Assistant Professor(Guest Faculty in Department of Music Central University of Sikkim and Published in EJMC 2020 . Following link is for full paper. 

https://www.researchgate.net/publication/353752158_European_Journal_of_Molecular_Clinical_Medicine_Patron-Musicians_A_Socio-Imperialism_In_Sikkim

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Sam Veda - a lecture series in Indian Classical Music

Sam Veda- a lecture series -2 in Indian Classical Music

The lecture series is based on the music in samveda and its linage with few examples. It a short overview of the Samveda and its music which makes you easier to understand the major components of classical music during Vedic Period. For Detail Knowledge you may read the article published in my blog or find some good book. My effort is to through light in such a huge topic and compress and conclude within few minutes that students and learners get brief knowledge about Samgaan -Samveda  


Click Here to Listen 

https://youtu.be/QloZUD8qyNo


https://youtu.be/QloZUD8qyNo

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Acoustic optimization of Indian Classical Music Practice Room

 

Abstract: 

            Music practice classroom are essential constructed and well-built spaces needed in order to acclimate music students, belonging to a classical music sector from a specific mentor, in their teaching activity. The main motive of a proper music practice classroom is to establish a uniform sound communication between Guru and Kshishya (Teacher -Student communication while rendering music), Unfortunately, in most of the institution or in the academy where music is being taught, a problem is faced by the students in learning classical music because of inadequate practice room. The acoustic design of the rooms is not appropriate that’s why high reverberation and echo is generated while singing or practicing the music instruments.  Even in the most higher education institution in India where music is being taught as a major subject have similar kind of inadequate classroom not friendly in teaching – learning of music. Most of the classroom do not ensure the quality of sound, minimum optimal acoustic comfort while practicing the music which result the noisy or reverb sound that make the music unpleasant and discomfort while singing the raga. It is observed that music practice room in higher educational institution are expected to be too reverberant, not acoustic friendly and inappropriate in practicing the classical music. Actually, in Indian classical music, structure of the classroom should be proper and acoustic friendly that the sound of manual tanpura, vocal and the accompany instruments like Harmonium, Table and Sarangi, and Violin should blend in proper way and create vibrant sound that sooth the ear of mentee and mentor. The study presents an acoustic research made in the classroom of department of Performing Arts, Lovely Professional University.  The research was conducted with analyzing the various method of data collection, data evaluation and data interpretation. Acoustic measurement of the reverb time were developed according to the existing rules and scientific measurements techniques are used to calculated the actual time of reverberation, echo and inadequate sound that was heard while practicing the classical music. The obtained results were compared with the admissible limits provided by the current regulation. 

 

Keywords: Indian Classical Music, Acoustic, reverberation, Classroom, teaching, students  


 Kindly Find the Full Paper in Scopus Soon 

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