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8 results

  • 5 - Legacy: Self-Fashioning and Its Limits

  • Heidi Rika Maria Pauwels, University of Washington
  • Book:
    The Voice of the Indian Mona Lisa
    Published online:
    17 August 2023
    Print publication:
    31 August 2023, pp 190-233

  • Summary

    Chapter 5 traces the legacy of Bani Thani’s contribution to Kishangarhi artistic and literary production. First, it explores whether her poetry inspired Kishangarhi paintings, presenting correlations between the two. Next is presented her “spiritual testament” on the basis of newly discovered manuscript material. Its autobiographical posing in Sita style hints at her agreement with the prince’s inclusion of Rama-devotional attitudes after he lost his throne. This is picked up by the inscription on her memorial. The location of her cenotaph close to his in Vrindaban perpetuates the story of their love beyond death. The literary exchange of the pair lived on in manuscript as well as in liturgical singing, as evidenced to this day by combined performance of their songs, though over time, the memory that she was the composer has become blurred. Chronicles document the court’s choice to remember the devout stepmother queen, and the exiled prince, rather than the concubine. Some of her songs made it in a court-sanctioned lithograph edition of the prince’s devotional output, but only as a coda. By the end of the nineteenth century Kishangarh’s inspirational muse herself had practically fallen silent. The amnesia of her authorship endured, even as her features were immortalized.

  • Aspirations and limitations: the state of world music education in secondary schools in multicultural Manchester

  • James Nissen
  • Journal:
    British Journal of Music Education / Volume 40 / Issue 3 / November 2023
    Published online by Cambridge University Press:
    17 April 2023, pp. 385-396
    Print publication:
    November 2023
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  • This article examines the state of world music education in secondary schools in Manchester, analysing school curricula and exam specifications alongside interviews conducted with teachers. World music occupies a significant position in music education at Key Stage 3, but its scope becomes progressively limited at higher levels. While teachers recognise the benefits of world music education for promoting cultural understanding and social inclusion, they struggle to maintain it throughout their programmes because of barriers related to examinations, teaching materials and school resources. This creates a dysfunctional learning trajectory that discourages students from studying music, particularly disadvantaging those from weaker socio-economic backgrounds. Nevertheless, teachers’ perspectives, often overshadowed by government policy, evidence strong aspirations to implement multicultural music education in practice.

  • 29 - Musical antinomies of race and empire

  • from Part X - Musical ontologies of globalization
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 726-743

  • Summary

    In the twenty-first century, Sufism and Sufi music appear to be predisposed for an accelerated and universalized globalization that includes and, indeed, privileges music as the most ubiquitous and instantly transmitted sonic medium. Approaching sacred versus world music, Philip Bohlman posits that music history in the Islamic world embodies narratives that profoundly depend on the different ontologies of music that are central to Islamic thought. Islamic musics have undergone extensive processes of globalization, and some repertories, such as the Sufi qawwali, are inseparable from world music today. Given the fact that Sufi world music is derived directly from its traditional counterpart, this chapter explores the relations between Sufi music as sacred music, on the one hand, and Sufi music as world music on the other. A historical orientation is built into Indic Sufism, for it is hierarchical and based on seniority and spiritual ancestry.

  • 28 - Disseminating world music

  • from Part X - Musical ontologies of globalization
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 705-725

  • Summary

    This chapter explores some of the routes that music has traveled through the peripheral geography, focusing especially on the sounds of the sacred, on what it means to sing one's self in Diaspora. World music has been shaped by the experiences of diasporic, Caribbean communities, and this was the case for many even before they arrived in the region. Accounts of musical performances and of the creation of body art on board ship during the middle passage illustrate the power of the expressive arts to shape experiences and to combat psychic and physical violence. Highlife and jùjú, are two West African genres that have been affected by musical styles emanating from the Caribbean. The Caribbean has transplanted its inhabitants across the globe and has also transplanted its musics and its festivals to new locations, implanting them in new contexts where ethnicity, nationality, and identity take on new meanings.

  • 9 - Music, Minas, and the Golden Atlantic

  • from Part III - Music histories of global encounter and exchange
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 223-252

  • Summary

    Western music was involved in developments outside the colonial possessions of the enlarged Europe that came to define itself as the West. The most fundamental aspect of musical modernization lies in the influence of Western aesthetic values. The Western pop basis of world music, the real common practice style of the late twentieth and early twenty-first century, provides a structure that is as ubiquitous and universal as Western science and engineering, while local elements merely add exotic color. Both indigenous and Spanish musics were performed on ceremonial occasions in the missions of sixteenth-century Florida, while European visitors frequently commented on the general excellence of Indian musicians, singers and instrumentalists. The twentieth-century Africanization of popular music represents a massive countercurrent to the established hegemonies of global capitalism. Western classical music is a form of musical utopia and can therefore act as world music.

  • 17 - On the history of the musical arts in Southeast Asia

  • from Part VI - Asian music histories
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 416-440

  • Summary

    Charles Fonton's project echoes Enlightenment approaches to music, music aesthetics, and the double nature of music as both art and science. Fonton starts with an account of the origins and history of oriental music. Music can be used as a clue and as a key that can disclose vital facets of human culture. The debates about music that raged in eighteenth-century France signal that the Enlightenment was dealing with materials and arguments that were too complex to be answered or solved in a satisfactory manner. In the emergence of later discourses of orientalism, the Enlightenment came to produce a bewildering number of simultaneous conversations intrinsic to the cultural and geographic exchange. By examining the different ways world music took shape in French music and musical scholarship in the eighteenth century, this chapter shows how the reflective horizon of Enlightenment authors and composers stretches beyond the West.

  • 25 - Encountering African music in history and modernity

  • from Part IX - Musical discourses of modernity
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 637-660

  • Summary

    In Carl Stumpf's approach, tone psychology was directed toward individual and experimental research and it played an important role in comparative psychology, one of Stumpf's primary interests. With the Berlin Phonogram Archive established, Stumpf specified three goals for comparative musicology: the analysis of sound using musical criteria, examination of the psychological role of music for human beings and the study of musical instruments. Together with Stumpf and Otto Abraham, Erich M. Von Hornbostel made contributions that are recognized in the history of world music as instrumental in the establishment of comparative musicology. Hornbostel and Stumpf were interested in the comparison of acoustics and music. Hornbostel published an article on comparative acoustic and music psychological studies, in which he specifies the methods to be used in the comparative study of world music: experiments with non-European subjects, pitch-measurements on musical instruments and studies that employ phonographs.