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O'briendm Phd2014 Web.Pdf UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title The endless search for SA: spiritual ideology in Hindustāni music Author(s) O'Brien, Dara Publication date 2014 Original citation O'Brien, D. 2014. The endless search for SA: spiritual ideology in Hindustāni music. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2014, Dara O'Brien http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information No embargo required Item downloaded http://hdl.handle.net/10468/1864 from Downloaded on 2021-10-06T04:58:29Z Title The endless search for SA: spiritual ideology in Hindustāni music Author(s) O'Brien, Dara Publication date 2014 Original citation O'Brien, D. 2014. The endless search for SA: spiritual ideology in Hindustāni music. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2014, Dara O'Brien http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information No embargo required Item downloaded http://hdl.handle.net/10468/1864 from Downloaded on 2015-07-10T10:45:56Z THE ENDLESS SEARCH FOR SA: SPIRITUAL IDEOLOGY IN HINDUSTĀNI MUSIC DARA O’BRIEN Submitted to Dept. of Music, School of Music and Theatre, University College Cork In partial fulfilment of the requirements for the Degree of Doctor of Philosophy 2014 Supervisor: Dr. Mel Mercier Head of Department: Prof. Jonathan Stock © 2014 Dara O'Brien All Rights Reserved TABLE OF CONTENTS Abstract……………………………………………………………………...………iii Declaration………………………………………………… ………………...……...iv Acknowledgements…………………………………………………………...……...v Language, Referencing, and Transliteration…………………...…………....…...vii Note on Musical Transcriptions……………………..……………………………viii List of Figures………..………………………………………………………….…..xi CHAPTER 1: INTRODUCTION AND METHODOLOGY Statement of Thesis………………………………………………………….….1 Sources, Fieldwork, and Methodology……………………………………....…2 Central Themes: Dichotomy, Unity, and the Beyond Experience……….……13 Related Studies: Situating my Research Within the Field…………………….19 Relevance to Contemporary Research: Embracing Subjective Experience.…..26 CHAPTER 2: THE QUESTION OF RELIGION, AND THE CONSTRUCTION AND REPRESENTATION OF SPIRITUAL IDEOLOGY Introduction…………………………………………..……………..…..…..…29 The Question of Religion………………………………………..……….…....30 The Representation of Spiritual Ideology in Literature and Musicology..….....42 CHAPTER 3: THE ENDLESS SEARCH FOR SA: HINDUSTĀNI MUSIC AS A PHILOSOPHY OF SOUND Introduction…………………………………………………….………….…..48 Nāda-Brahma: Sound as Primordial Essence……...……………………....…..51 The Principle of Unity……………………………………………………...….59 The ‘Manifest’ and the ‘Unmanifest’……………………………………....….69 Rāga Improvisation as a Mediator Between the Profane and the Divine......…72 CHAPTER 4: THE CONCEPT OF RĀGA Introduction……………………………………………………………...….…88 Defining and Describing Rāga……………………………...……………....…90 The Origins of Rāga: Mythology, Evolutionary Models, and Numinous Associations…………………………………….………....…103 Conclusions and Final Thoughts: Rāga as a Unifying Principle…...……..…124 i CHAPTER 5: TRANSMISSION Introduction…………………………………………………………..………132 The Traditional Learning Process……………………………….…...…….…134 Pedagogy in the Current Era………………………………………………….147 CHAPTER 6: PRACTICE: WHERE PRAGMATISM AND IDEOLOGY CONVERGE Introduction……………………………………………………………..……155 Terminology: Riāz, Sādhanā, and Chilla…………………………….…..…..157 Practice Routines and Lore……………………………………………….…..161 Religiosity, Presence, and Devotion: Riāz and Quality of Focus………..…...166 The Science of Practice: A Paradigm of Efficiency and Methodological Progression………………………………………..……182 Where Pragmatism and Ideology Converge…………….……………………205 CHAPTER 7: PERFORMANCE: THE PRESENTATION OF RĀGA AND THE DICHOTOMY OF MUSIC AS ‘DEVOTION’ AND MUSIC AS ‘ENTERTAINMENT’ Introduction………………………………………………………………...…212 An Age Old Debate, Sustained and Reconfigured Through Time………...…214 Ideological and Philosophical Perspectives on the Presentation of Hindustāni Music………………………………………..…..220 The Many Faces of Rāga: Performance Context(s) and the Musician-Audience Relationship………………………………………….…242 Conclusion…………………………………………………….……..…….…269 CHAPTER 8: CONCLUSIONS AND CENTRAL THEMES Introduction…………………………………………………………..…………..…271 Central Themes……………………………………………………………………..272 The Endless Search for Sa: Final Thoughts……………………...…………………276 Bibliography……………………………………………………….………………277 ii THE ENDLESS SEARCH FOR SA: SPIRITUAL IDEOLOGY IN HINDUSTĀNI MUSIC Abstract This dissertation centres on philosophical attitudes presented by North Indian classical musicians in relation to the concept and experience of rāga improvisation. In Hindustāni music, there is a dynamic tension between ideology and pragmatism, devotion and entertainment, fixity and improvisational freedom, and cognition and visceral experience. On one hand, rāga is an embodied methodological template for the creation of music. On the other hand, rāga improvisation is conceptualised as a path to metaphysical experience and as an evocation of an ineffable divine presence. A masterful rendition of rāga is both a re-enactment of a systematic prescribed formula and a spontaneous flow of consciousness. This study presents these apparent dichotomies to highlight ideological concerns, while simultaneously contextualising philosophical idealism in relation to pragmatic realities. A central paradigm is the manner in which pragmatic concerns are elevated in status and given spiritual significance. The dissertation begins with a view into historical and religious context. The discussion continues with a speculative investigation positing co-relations between Hindustāni music and central tenets of Indian philosophy, considering how rāga improvisation may manifest as a philosophy of sound. The study then explores the concept of rāga, a modal and conceptual construct that forms the heart of Indian classical music. The final three sections ground the subject of spiritual ideology within the life experience of Hindustāni musicians: ‘Transmission’ looks at the learning and enculturation process, which encapsulates values intrinsic to the ethos of Hindustāni music culture. ‘Practice’ explores the discipline, science and experience of musical practice, revealing core ideological concerns connecting spirituality to musical experience; and ‘Performance’ examines the live presentation of rāga improvisation, and the relationship between music as ‘entertainment’ and music as ‘devotion’. Both ethnographic and musicological, this research is the culmination of various fieldtrips to India, extensive interviews with Hindustāni musicians, fifteen year’s sitār training, and the study of relevant musicological and philosophical texts. iii Declaration I, Dara O'Brien, declare that all the work in this dissertation is my own, unless otherwise stated, and that none of the work was used for the attainment of any other degree. ………………………………….. Dara O'Brien iv Acknowledgements I am eternally grateful to whatever may have led me to the exquisite and fascinating world of Indian classical music. I am humbly indebted to all who have taught me Indian classical music and sitār over the past fifteen years, including: Ravi (Varanasi), Amrendra Jha (Varanasi), Subroto Roy Chowdhury (Kolkata/Berlin), Jagdeep Singh Bedi (New Delhi), and Richard Smitheman (USA). I wish to express a special and deep gratitude to my principal teachers: Sri Sougata Roy Chowdhury (Kolkata), and Paṇḍit Kushal Das (Kolkata). Their generous and patient guidance is central to my research in terms of both content and meaning. I also wish to thank Sougata’s wife Julie for the loan of her bicycle (and her husband), and Kushal Das’s wife and son for their kind hospitality. I thank all my informants for their time, for being open and receptive to my research, generous with their thoughts, and honest with their feelings. The study would not have been possible without the kindness of the following participants: Sadanand Amonkar, Premanand Shanu Amonkar, Angshuba Banerjee, Jagdeep Singh Bedi, Dr Vinay Bhide, Rana Subhojit Brahmachari, Swapan Chaudhuri, Sougata Roy Chowdhury, Subroto Roy Chowdhury, Paṇḍit Kushal Das, Nimai Das, Sabir Khan, Amit Kumar Das, Nasir Desai, Subhash Fatarpekar, Dr Amrendra Jha, Nikhil Joshi, Alam Khan, Sabir Khan, Nilandri Kumar, Matthew Noone, Rageswar, Sam Randhawa, Debojyoti Sanyal, Joyeeta Sanyal and Richard Smitheman. I am especially indebted to my supervisor Dr Mel Mercier for his warmth, guidance, and patience. His consistently positive and reinforcing attitude has been an inspiration. His expert mentorship was always coupled with a keen intuitive insight. He enabled an open and interactive channel of communication and maintained the indispensable ability to cut through complexity in a clear and coherent manner. Thankyou to my examiners Prof. Jonathan Stock (University College Cork) and Dr George Ruckert (Massachusetts Institute of Technology) for their valuable time, and for sharing their considerable expertise. Their productive critical engagement supported me in the creation of a more cohesive work. v An extra special thank you to Mairéad for her love, belief, and support. I am deeply grateful to my family for always accepting me for who I am. A special word of gratitude to my colleagues and friends in the Indian Classical Music Society of Ireland: Sadanand Magee, Sudipto Das, Samukta Das, Philip Horan, Matthew Noone, and most of all, Yameema Mitha, who also assisted with some translations. Thanks
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