• Abstract and Figures
• Public Full-text

Networks of Music and History: Vilayat Khan and the Emerging Sitar Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Hans Utter, MA Graduate Program in Music The Ohio State University 2011 Dissertation Committee Margarita Mazo, Advisor Ron Emoff Danielle Fosler-Lussier Jack Richardson Copyright by Hans Frederick Utter 2011 Abstract My dissertation explores the sitar’s rise and significance in post- independence India (1947-2009), primarily through the Imdad Khan Gharana and Vilayat Khan. Pioneering sitarists such as Ravi Shankar and Ustad Vilayat Khan were vitally important in forging India’s cultural modern identity. By studying critically the role of individual creativity in the re-imagining of tradition, my dissertation investigates how contesting cultural heritages found expression in new artistic mediums that challenged and reached new audiences. In order to create a “non- linear” history of the sitar it is conceptualized as a “quasi-object” using the semiotic- material schema found in Latour’s Actor Network Theory (Latour 2008). Musical analysis is informed by a Deleuuzian approach for the perception of multiple “truths,” exploring performance as the interpenetration of the virtual and actual in assemblages. ii Dedication Dedicated to my family and Vivek iii ACKNOWLEDGEMENTS Writing a dissertation is ultimately a collective endeavor. The efforts of many people, generously offering their personal time, to provide information, comments, and suggestions made this work possible. In addition, several organizations including The Ohio State University with its many departments and scholarly facilities provided the necessary infrastructure and logistical support for this endeavor. Everyone I will mention assisted me greatly, and I am forever indebted to all of my benefactors. I was first encouraged to go to India as an undergrad by Prof. Phillip Lutgendorf at the University of Iowa. He piqued my interest in the subcontinent after writing my name in Hindi, indicating that it means “northern swan” in Hindi. He helped me establish contacts at the Landour Language School and at the Benares Hindu University. My first sitar guru, Pandit Raj Ban Singh, gave me confidence to pursue the intricacies of Hindustani music, and provided an overview of the raga, tala, and performance protocols. Ustad Shujaat Khan has been a great mentor both as a sitar instructor and as a guide to the world of professional music and life as a musician. Shujaat’s instruction revealed the musical universe of the Imdad Khan gharana to me, and he has always been generous with his time and responses to my myriad questions. iv Without his acceptance of me as a disciple, I am certain that this dissertation would never have taken place. Hidayat Khan has been extremely generous with his time and knowledge, allowing me access to his archive of printed materials and his collection of instruments dating back to the nineteenth century. Hidayat answered many questions about his father’s playing style, and gave me great insight to both the man and musician, as well as demonstrating answers to my questions regarding alap, tans, and talim. Pandit Arvind Parikh was an invaluable source of detailed insight into the music and life of Ustad Vilayat Khan. Pandit-ji is a highly accomplished musician and scholar, and his analytical skills and depth of musical understanding clarified many of my questions, and opened up the seminal era of the 1950s and 1960s through his first-hand accounts of this period. Prof. Francoise ‘Nalini’ Delvoye of the Sorbonne was of great assistance during my archival research in India, and introduced me to many important scholars and resources, especially the Rampur Reza Archive in North India. Her scholarship, especially in the areas of Persian, Urdu, and Sanskrit manuscripts, has been a great inspiration. In India, many musicians such as Pandit Indra Lal Dandra, Ustad Ballu Khan Warsi, Prabhe Arte, Akram Khan, Ustad Iqbal Khan, Malashree Prasad, and Nawab Ali have been instrumental in providing a platform for performance, and also in assisting my research. Ravi Mataur of the ITC SRA provided lodging and access to the wonderful musicians and many resources of Calcutta’s Sangeet Research Academy, which v proved to be essential for my work. Amy Maleschiki provided a letter of introduction to Ravi, for which I am grateful. I also must thank Amar Mishra who first gave me a taste of the world of the Hindustani music collector, offering me numerous rare recordings of Ustad Vilayat Khan. His passion for music is inspirational. The entire staff at the ITC SRA was extremely helpful, and did their best to provide all assistance I required. Ustad Mushtaq Ali Khan and his brother allowed me several detailed interviews and unique insights into the Kirana-Imdad Khan gharana connection. He allowed me observe his practice and instruction techniques, and shared many stories of Vilayat Khan’s early years in Saranpur. Dr. Allyn Miner’s work has been a tremendous inspiration for me, and she has been very helpful during our meetings at several SEM conferences. Dr. Steven Slawek has been extremely encouraging for my work, and his pioneering scholarship has also been a great influence. Dr. Jim Kippen was always a legendary figure to me, and when I finally was able to meet with him, he provided a variety of insights into the historical aspects of this work. Dr. Wim van de Meer’s invitation to attend the Indian Musicological Society conference in 2008 gave me access to the work of many important scholars working on South Asian music. Dr. Daniel Neuman is one of the great figures in the study of gharana, and he was as helpful in real life as in his written works. His son, Dard, who is also my guru-bhai, is a tremendous scholar and a musician, and he encouraged me to pursue the academic path by his example. vi The staff at Delhi University assisted me greatly with my historical research, and also allowed me to participate in several conferences held on their campus. Both Dr. Chandra Shekar, translator of the Muraqqa-e-Delhi, and Dr. Sunnera Katwah, allowed me access to the library as well as to rare manuscripts related to this sitar. Numerous other institutions in India have been vital to this work, including the ICCR (Indian Council of Cultural Relations), the Sangeet Natak Academy in New Delhi, the Indira National Open University, and the Persian department at JNU. The Ohio State University has provided the funding for my graduate studies, and the accomplished faculty has guided me on the path of a scholar. I would like to thank Dr. Ron Emoff, Dr. Graham Boone, Dr. Fosler-Lussier, Dr. Lois Rosow, as well as the students and librarians at the school of music. Dr. William Conable has been a great inspiration to my work as well. The Near Eastern Language and Culture Department (NELC), as well as the Middle East Studies Center (MESC), has provided generous educational and financial support for my work. I would like to especially thank Dr. Dick Davis, probably the most accomplished Persian translator of the past century, Dr. Margaret Mills, Melinda Wightman, and Dr. Alam Payind, director of the MESC, for their immense contributions to my work. My advisor Dr. Margarita Mazo is central to this work, through her encouragement to tackle difficult topics, her revisions and comments on my work, and also her high standards that constantly pushed me to exceed my own vii limitations. She has adeptly guided me in this process, and without her years of help, I would not be where I am today. Finally, I would like to thank my parents, Don and Miriam Utter, for encouraging me to pursue the path of scholarship, and for reading through my early drafts. Their support, encouragement, and astute comments were a great inspiration. viii Vita 1999.……………………………………………..…..BA. Liberal Arts, University of Iowa 2006………………………………………………….M.A. Music, The Ohio State University Publications Trance, Ritual and Rhythm: The Cult of Mahasu Deota. New Delhi: B.R Rhythms, 2010. “From Hybridity To The Rhizome: Mapping Performance Sites.” Journal of the Indian Musicological Society. Volume 40. 2009-2010. pp. 131-139. “Politics, place and memory: the performance and construction of Tajik National identity.” Africa meets Asia proceedings, edited by Balasubramaniam R., S. A. K. Durga, S. N. S. Muthry, H. S. Sudhindra, July 2008. pp. 225-231. “Tribes and the ‘Others’.”Tribes of India: Identity, Culture, and Lore. Indira Gandhi National Open University, School of Interdisciplinary and Trans-disciplinary Studies. New Delhi: 2009. pp.50-64. “Folklore and Modern Art Forms.” Tradition, Identity and Cultural Production. Indira Gandhi National Open University, School of Interdisciplinary and Trans- disciplinary Studies. New Delhi: 2009. pp.126-129. “Cultural Strategies for Asserting Identity.” Tradition, Identity and Cultural Production. Indira Gandhi National Open University, School of Interdisciplinary and Trans-disciplinary Studies. New Delhi: 2009. pp.153- 164. ix “Globalization and Indigenous Cultures.” Tradition, Identity and Cultural Production. Indira Gandhi National Open University, School of Interdisciplinary and Trans-disciplinary Studies. New Delhi: 2009. pp. 163-172. “Tajikistan: The Politics of Poetics.” Middle Eastern Studies Bulletin: A Bi-annual Publication of the Middle East Studies Center: The Ohio State University (October 2007), pp. 6-10. “Poetry as Cultural Bridge.” Global Perspectives: Winter 2008 Newsletter.

Load more

  407

Copy Link