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Cover Next Page > Cover Next Page > cover next page > title: Indian Music and the West : Gerry Farrell author: Farrell, Gerry. publisher: Oxford University Press isbn10 | asin: 0198167172 print isbn13: 9780198167174 ebook isbn13: 9780585163727 language: English subject Music--India--History and criticism, Music--Indic influences, Civilization, Western--Indic influences, Ethnomusicology. publication date: 1999 lcc: ML338.F37 1999eb ddc: 780.954 subject: Music--India--History and criticism, Music--Indic influences, Civilization, Western--Indic influences, Ethnomusicology. cover next page > < previous page page_i next page > Page i Indian Music and the West < previous page page_i next page > < previous page page_ii next page > Page ii To Jane < previous page page_ii next page > < previous page page_iii next page > Page iii Indian Music and the West Gerry Farrell OXFORD UNIVERSITY PRESS < previous page page_iii next page > < previous page page_iv next page > Page iv OXFORD UNIVERSITY PRESS Great Clarendon Street, Oxford OX2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Gerry Farrell 1997 First published 1997 New as paperback edition 1999 The moral rights of the author have been asserted Database right Oxford University Press (maker) All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Farrell, Gerry. Indian music and the West / Gerry Farrell. p. cm. Discography: p. Includes bibliographical references (p.) and index. 1. MusicIndiaInfluence. 2. MusicIndic influences. 3. Civilization, WesternIndic influences. 4. Ethnomusicology. I. Title. ML338.F37 1997 780¢.954dc20 96-34212 ISBN 0-19-816717-2 (pbk.) 1 3 5 7 9 10 8 6 4 2 Typeset by Hope Services (Abingdon) Ltd. Printed in Great Britain on acid-free paper by Bookcraft Ltd., Midsomer Norton, Somerset < previous page page_iv next page > < previous page page_v next page > Page v Contents Preface to the paperback edition vii Acknowledgements ix Note on transliteration xii Introduction 1 Chapter 1 Europeans and Indian Music in the Late Eighteenth Century 15 Chapter 2 Indian Music, Notation, and Nationalism in the Nineteenth Century 45 Chapter 3 India in Western Popular Song 77 Chapter 4 The Gramophone Comes to India 111 Chapter 5 Three Journeys to the West 144 Chapter 6 Indian Elements in Popular Music and Jazz 168 Chapter 7 World Music and South Asian Music in the West 201 Conclusion 219 Appendix: Selected Discography for Chapters 6 and 7 221 List of Sources and Bibliography 222 Index 235 < previous page page_v next page > < previous page page_vii next page > Page vii Preface to the paperback edition Three years have elapsed since the hardback edition of this book was published in 1997. Historical materials are continually coming to light which have a bearing on many of the observations and conclusions in the first edition. The contemporary story of Indian music and the West is in a continual state of change and development. There has been, for example, a remarkable upsurge in the popularity of South Asian popular music worldwide and particularly in Britain. A few years can seem like an eternity in the world of popular music and many of the observations made about the British South Asian music scene in Chapter 7 of Indian Music and the West already feel as much part of history as does the material of earlier chapters. In recent years British musicians such as Cornershop, Asian Dub Foundation, Bally Sagoo, and others have had unprecedented mainstream commercial success. Not only does their music synthesize a number of musical languages from the West and the Indian sub- continent, their influence on popular music in India is also significant. We are beginning to see, perhaps for the first time on any appreciable scale, a process of re-exportation of South Asian Diaspora music to ther India sub- continent. In Europe and the United States the institutionalization of Indian classical music has continued to expand. Several of the world's greatest Indian musicians are now resident in the West and teach an ever-increasing number of Western students. Slowly, but surely, Indian classical music is becoming an important facet of Western music education systems. The process of writing a study such as this is necessarily one of selection from a vast amount of historical and musical data. The result can never be either comprehensive or definitive, and indeed is not intended to be. My observation in the final sentence of the hardback edition to the effect that many other histories of Indian music and the West remain to be written appears even more apposite in the light of recent musical developments, and the continuing, increasingly complex, historical re-evaluation of the West's musical and cultural encounter with India. GERRY FARRELL, LONDON, 1999. < previous page page_vii next page > < previous page page_ix next page > Page ix Acknowledgements This book could not have been written without the help and assistance of many people. Over the years my interest in Indian music has been sustained by my teachers. In particular I wish to thank Alistair Dick, Ustad Imrat Khan, Suresh Mishra, Amarnath Mishra, and Professor Debu Chaudhuri, who taught me the sitar, and fostered my wider interest in the history and culture of India. I have also learnt much from many fellow musicians, in particular Yousuf Ali Khan, Jaspal Bhogal, Jayeeta Bhowmick, Peter Lockett, Lewis Riley, Nick Wiltshire, and Vijay Kangutkar. Various drafts of this work have been read by John Baily of Goldsmiths' College. I wish to thank him for his advice, encouragement, and constructive criticism at all stages of the preparation of this book. Early drafts of several chapters were read by Cyril Ehrlich. His advice on how to handle historical material has been invaluable. Without his help the book might not have been written at all. I am extremely grateful for the time he spent with me and the supportive interest he has shown in my work. My thanks go too to Richard Widdess of the School of Oriental and African Studies for helpful comments on an earlier version of Chapter 4, and John Marr for telling me about the place of Western music in South Indian traditions. Neil Sorrell of York University and Joep Bor of the Rotterdam Conservatoire made invaluable comments on various aspects of this work, which clarified for me many historical and musical points. In the early stages, Bruce Phillips of Oxford University Press put me in touch with Ian Woodfield at Queen's University, Belfast, who was also working on material related to Hindustani Airs. This contact proved to be fruitful, and I would like to thank Ian for bringing to my attention Sophia Plowden's collection of Indian songs in the Fitzwilliam Museum, and showing me drafts of his work-in-progress, Musicians of the Raj. My thanks to Bruce also for the interest he has shown in my work throughout the preparation of this book, and to Helen Foster for expert guidance in the final stages. On the subject of Hindustani Airs I am indebted as well to Peter Cooke of the School of Scottish Studies, Edinburgh University, for alerting me to the Torloisk Manuscripts, in which there were several versions of Indian songs. Again on the subject of Hindustani Airs my thanks to Usha < previous page page_ix next page > < previous page page_x next page > Page x Sethi, who translated some of the song titles from the original, rather difficult transliterations. As this book is based primarily on library and archival material, research has been made possible by the help of many people at different institutions. I extend my thanks to the staff of the British Library India Office and British Library Music Reading Room who tirelessly dealt with my numerous, often obscure, enquiries. Particular thanks are due to Michael Pollock, librarian of the Royal Asiatic Society, who made available to me an essential article from nineteenth-century Calcutta. Max Tyler of the British Music Hall Society was of great assistance in finding information on how India was represented in popular culture in the nineteenth century, as were the staff of the Theatre Museum in Covent Garden, who searched out reviews and playbills for nineteenth-century productions with Indian themes. My thanks to them all. Materials from the EMI Music Archives have been central to my research. As this archive is not open to the general public, I was privileged to have access to this material. For this I thank Ruth Edge, chief archivist at EMI, and also Sarah Hobbs and Jenny Keen, who helped with my many enquiries. At EMI I also met Michael Kinnear, who generously shared with me his many insights into Indian music and his encyclopaedic knowledge of the history of Indian recordings.
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