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Download Hindi Poetry In A Musical Gere: Thumri Lyrics (Royal Asiatic by L. Du Perron PDF

By L. Du Perron

Indian classical track has lengthy been attention-grabbing to Western audiences, such a lot prominently because the Beatles' classes with Ravi Shankar within the Sixties. This fascination with the musical style nonetheless prevails within the twenty-first century. Hindi Poetry in a Musical style examines Thumri Lyrics, an enormous style of Hindustani track, from a essentially linguistic viewpoint. On a cultural point, it discusses the interface among devotional and secular poetry. in addition, it explains the effect of social and political switch at the musical existence on North India. Well-written and carefully researched, this ebook is a worthwhile contribution to the sector of South Asian studies. it will likely be fascinating to lecturers around the self-discipline, together with linguistics, politics, sociology, cultural and gender experiences.

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B23 describes Krishna playing his flute in Braj, thereby attracting gods and men, whereas his beautiful form causes the sakhīs to forget home and hearth: B23 1 2 3 4 He played his flute in the middle of Brindaban; Shy am beguiled gods and men. The friends, seeing his beautiful shape, forgot all about their homes. Like A21 discussed above, this text is characterised by an absence of personal involvement on the part of the speaker, who appears as a somewhat distant observer. In bandiś as well as bol banāv we find that when the narrative is in the third ‘I get no peace’ 29 person it is usually unclear whether the narrator is male or female, and engaged in the narrative or not.

This newspaper collection provides a striking glimpse into the world of Hindustani music as it lives in the perceptions of journalists and, by extension, audiences; as the dates of the articles range from the 1950s to the 1990s, the collection also documents how music reviews and reviewers’ attitudes have changed over the years. Although attendant observations are not relevant to the present study, it is worth noting that there has been a general movement towards a more ‘scientific’ approach to music, in which the exact specifications of a rāg are analysed and the performer’s rendition is commented upon.

The texts are organised alphabetically following the Devanagari order. The rationale behind the inclusion of certain texts has been based on currency: all the texts that are included in the ‘Main corpus’ were (in at least one version) sung or recited for me during fieldwork in India in the year 1996–7, or have been heard on either private or commercial recordings; there are therefore no texts in the ‘Main corpus’ which are not, or no longer, part of a performance tradition. Where variant versions of the texts thus accumulated are known to exist (either through fieldwork, recordings or anthologies) they have also been included.

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