Syracuse University SURFACE Maxwell School of Citizenship and Public Social Science - Dissertations Affairs 12-2011 Tuning Modernity: Musical Knowledge and Subjectivities in Colonial India, c. 1780s - c. 1900 Sharmadip Basu Syracuse University Follow this and additional works at: https://surface.syr.edu/socsci_etd Part of the Social and Behavioral Sciences Commons Recommended Citation Basu, Sharmadip, "Tuning Modernity: Musical Knowledge and Subjectivities in Colonial India, c. 1780s - c. 1900" (2011). Social Science - Dissertations. 176. https://surface.syr.edu/socsci_etd/176 This Dissertation is brought to you for free and open access by the Maxwell School of Citizenship and Public Affairs at SURFACE. It has been accepted for inclusion in Social Science - Dissertations by an authorized administrator of SURFACE. For more information, please contact
[email protected]. Abstract This dissertation studies two signal moments of intervention in the musical field in colonial India: (i) the late-eighteenth century moment of Orientalist scholarship, specifically, the appearance in 1792 of Sir William Jones’ “On the Musical Modes of the Hindoos,” which fundamentally reconfigured the way musics of the Indian subcontinent would be studied thereafter; and (ii) the mid/late-nineteenth century moment that witnessed the first efforts among the colonized to self-consciously produce themselves as modern musical subjects. My enquiry into these two fertile passages in India’s music history is an attempt to disentangle the set of musico-historical processes that enliven a larger question: what is modern—colonial modern, to be precise—about a music and musical culture that claims a continuous tradition of cultivation over thousands of years? In approaching this question, this dissertation not only addresses the epistemological aspect of musical modernity in the Indian colony, it also looks at two new forms of musical subjectivity inaugurated therein over the course of colonialism’s unfolding—one short-lived and one enduring.