Indian music studied from a social and intercultural perspective

Ethnomusicology can be considered as the holistic and cultural study of music existing in various folk, tribal and other ethnic societies.

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Ethnomusicology can be considered as the holistic and cultural study of music existing in various folk, tribal and other ethnic societies. The discipline ethnomusicology deals with the study of music from a social and cultural perspective and aims to survey and analyze the music traditions of various cultures. Ethnomusicology also emphasizes the study of music of one’s own and other cultures which promotes the intercultural perspective of music. Initially, the Indo-British interrelationship paved the way for intercultural communication through musical works and set the foundation for ethno musicological study in India. Ethnomusicology emerged in India during the British period when western authors started to write about Indian music in English language mainly for western readerships. Intercultural aspects can be found in all styles of music because of the cultural changes in societies that are induced by the changing reigns of rulers in the different ages of a nation‟s history. […]

After the 1980s, concepts of anthropology and musicology merged and more emphasis was placed on the observation of the process of musical creation, as seen in improvisations and performances. The focus of the study has shifted towards making critical examinations, rather than collecting abstract information. […]

Source: “Emergence of Ethnomusicology As Traced in Indian Perspectives” by Bisakha Goswami (Assistant Professor in Musicology, Rabindra Bharati University)
URL: https://www.academia.edu/10205543/Eemergence_of_Ethnomusicology_As_Traced_in_Indian_Perspectives
Date Visited: 8 September 2023

Classical music is the most refined and sophisticated music to be found in the subcontinent of India. There are many other forms, however, which have a specific function in the society, and these are by no means devoid of artistic expression. The great diversity of music in India is a direct manifestation of the diversity and fragmentation of the population in terms of race, religion, language, and other aspects of culture. The process of acculturation, so accelerated in modern times, is still not a very significant factor in many areas of the country. There remain remote pockets where tribal societies continue to live much as they have done for centuries.

“Tribal, Folk and Devotional Music” by NA [Nazir Ali] Jairazbhoy in AL Basham (ed.). A Cultural History of India. London: Oxford University Press, 1975, pp. 234-237. 

There is a need for intercultural education. We all need to work together to bridge these divides not only between religions and castes [*] but also regions. It is not correct to think that one part is better than the other. Some of the limitations of India as a whole are due to our common heritage, say the one that has restricted women from having a flourishing life for themselves.

Source: Prof. V. Santhakumar (Azim Premji University) in “On the so called North-South Divide in India” | Read the full blogpost: Economics in Action (13 April 2024) >>

[*] Some clarifications on caste-related issues by reputed scholars

Understanding “caste” in the context of Indian democracy: The “Poona Pact of 1932”
“Mahatma Gandhi and BR Ambedkar differed over how to address caste inequities through the electoral system. Their exchanges led to the Poona Pact of 1932, which shaped the reservation system in India’s electoral politics. […]
Two prominent figures who have significantly contributed to this discourse are Mahatma Gandhi, Father of the Nation, and Bhimrao Ramji Ambedkar, Father of the Constitution. The two stalwarts of Indian politics, while revered equally by the public, had contrasting views on the caste system. Their subsequent debates have shaped the course of Indian society and politics. While Gandhi denounced untouchability, he did not condemn the varna system, a social hierarchy based on occupation, for most of his life. He believed in reforming the caste system through the abolition of untouchability and by giving equal status to each occupation. On the other hand, BR Ambedkar, a Dalit himself, argued that the caste system disorganised and ‘demoralised Hindu society, reducing it to a collection of castes’. […] 
And yet, despite their differences, they developed an understanding to work for the betterment of the marginalised.” – Rishabh Sharma in “How Ambedkar and Gandhi’s contrasting views paved way for caste reservation” (India Today, 6 October 2023)
URL: https://www.indiatoday.in/history-of-it/story/ambedkar-gandhi-caste-system-poona-pact-1932-reservation-2445208-2023-10-06

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“That upper caste groups should declare themselves to be OBCs [Other Backward Castes] and want to avail of the reservation policy is a pandering to caste politics of course, as also are caste vote-banks. It is partially a reflection of the insecurity that the neo-liberal market economy has created among the middle-class. Opportunities are limited, jobs are scarce and so far ‘development’ remains a slogan. There’s a lot that is being done to keep caste going in spite of saying that we are trying to erode caste. We are, of course, dodging the real issue. It’s true that there has been a great deal of exploitation of Dalit groups and OBC’s in past history; making amends or even just claiming that we are a democracy based on social justice demands far more than just reservations. The solution lies in changing the quality of life of half the Indian population by giving them their right to food, water, education, health care, employment, and social justice. This, no government so far has been willing to do, because it means a radical change in governance and its priorities.” – Romila Thapar  (Emeritus Professor of History, Jawaharlal Nehru University) interviewed by Nikhil Pandhi (Caravan Magazine, 7 October 2015)
URL: https://caravanmagazine.in/vantage/discipline-notion-particular-government-interview-romila-thapar 

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Casteism is the investment in keeping the hierarchy as it is in order to maintain your own ranking, advantage, privilege, or to elevate yourself above others or keep others beneath you …. For this reason, many people—including those we might see as good and kind people—could be casteist, meaning invested in keeping the hierarchy as it is or content to do nothing to change it, but not racist in the classical sense, not active and openly hateful of this or that group.” – Book review by Dilip Mandal for Caste: The Origins of Our Discontents (The Print, 23 August 2020)
URL: https://theprint.in/opinion/oprah-winfrey-wilkerson-caste-100-us-ceos-indians-wont-talk-about-it/487143/

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“The theoretical debate on caste among social scientists has receded into the background in recent years. [However] caste is in no sense disappearing: indeed, the present wave of neo-liberal policies in India, with privatisation of enterprises and education, has strengthened the importance of caste ties, as selection to posts and educational institutions is less based on merit through examinations, and increasingly on social contact as also on corruption. There is a tendency to assume that caste is as old as Indian civilization itself, but this assumption does not fit our historical knowledge. To be precise, however, we must distinguish between social stratification in general and caste as a specific form. […]
From the early modern period till today, then, caste has been an intrinsic feature of Indian society. It has been common to refer to this as the ‘caste system’. But it is debatable whether the term ‘system’ is appropriate here, unless we simply take for granted that any society is a ‘social system’. First, and this is quite clear when we look at the history of distinct castes, the ‘system’ and the place various groups occupy within it have been constantly changing. Second, no hierarchical order of castes has ever been universally accepted […] but what is certain is that there is no consensus on a single hierarchical order.” – Harald Tambs-Lyche (Professor Emeritus, Université de Picardie, Amiens) in “Caste: History and the Present” (Academia Letters, Article 1311, 2021), pp. 1-2
URL: https://www.academia.edu/49963457

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“There is a need for intercultural education. We all need to work together to bridge these divides not only between religions and castes but also regions. It is not correct to think that one part is better than the other. Some of the limitations of India as a whole are due to our common heritage, say the one that has restricted women from having a flourishing life for themselves.” – Prof. V. Santhakumar (Azim Premji University) in “On the so called North-South Divide in India” (personal blog post in Economics in Action, 13 April 2024)
URL: https://vsanthakumar.wordpress.com/2024/04/13/on-the-so-called-north-south-divide-in-india/

There is a continuing association of apsaras with heroes, as for instance in the hero-stones of later times, which show the hero being taken up to heaven by apsaras arter he has died in battle. There is also an association with heavenly musicians, the Gandharvas. In the epic version, the identity of Sakuntala as an apsara is reiterated by the small details which [unlike those found in Kalidasa’s portrayal] make her different from an ordinary woman.

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The apsara was a beautiful woman made for dalliance, the fantasy woman of the world of the heroes. In later times the apsaras fade when the goddesses become prominent. The apsaras are not, therefore, the same as women of the earth, they have their own order and their own codes of behaviour and authority. In a sense they are a counterweight to the insistence on the pativrata as the ideal woman – the life-long, devoted, self-effacing wife to her husband – and to that extent alleviate the dreariness of the didactic sections of the epic [Mahabharata] with their heavy male-dominated pronouncements.

There is a continuing association of apsaras with heroes, as for instance in the hero-stones of later times, which show the hero being taken up to heaven by apsaras after he has died in battle. There is also an association with heavenly musicians, the Gandharvas. In the epic version, the identity of Sakuntala as an apsara is reiterated by the small details which [unlike those found in Kalidasa’s portrayal] make her different from an ordinary woman.

Yet she is in the mould of the other epic heroines – Draupadi, Kunti, Gandhari – strong women who as mothers and wives dominate the story and whose individuality cannot be overlooked. Epic heroines are sometimes associated with the knowledge of a treasure which the hero seeks, or else they protect the treasure. In the narrative of Sakuntala the treasure may be symbolised by the son she brings to the hero, a son who was to be unique in the lineage of the Purus. The eulogies on Bharata in the later tradition, exalting him as the ancestor of a famous clan (even though his children died and he was succeeded by an adopted son); marking him out as a major figure in the lineage not only requires introduction through an unusual birth – namely, a three-year gestation with a mother who could be either an apsara or a forest dwelling woman – it also ensures that the story of Sakuntala remains in the consciousness of those who live in the land of Bharata.

Source: Romila Thapar in “The Narrative from the Mahabharata”, Sakuntala: Texts, Readings, Histories (New Delhi 1999), pp. 41-42

Article 52 of the Constitution says, “There shall be a President of India,” with no mention of Bharat. […] India is already called Bharatam in Tamil, Telugu, Kannada, and Malayalam.

Source: livemint.com (5 September 2023)

[Bold typeface added above for emphasis]

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A music that connects amidst multiple crises: “Joyful subtle insights”

The most rewarding task for teachers and performers may well be to convey Tyagaraja’s last message to his disciples and the world, one that may liberate us by letting go of artificially separatist views of culture, creed and nature as well (given the multiple crises humankind is faced with on a daily basis):

Paramātma is brightly shining / may this dawn upon you / in all its beauty / Named as Vishnu, named as Shiva / Said to be in people / and heavenly beings / throughout the entire universe / That Supreme Being pervades like light! / Have a joyful subtle insight into that / in all its beauty.

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“Children should grow with joy, courage and freedom and a discipline born out of these attributes. The fundamental principle is joy, suggestion must be the method, the emphasis should be on the imaginative and creative experience of music and teaching should follow a “flow-form-flow” spiral.
VV Sadagopan was clearly in favour of lakshya (aesthetic perception) over lakshana (intellectual abstraction) at school, college or university.” – T.K. Venkatasubramanian in “VV Sadagopan – An educator with a mission”, Sruti Magazine >>

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Bhava enables the transmission of experience of thoughts and emotions – Narayana Vishwanath

CHENNAI: We are aware that the ultimate aim of every composer and musician is to achieve the coalescence, the essential factors of classical music namely bhava, raga and tala. We know bhava literally means, expression, the expression of existence. In a composition, bhava encompasses the aspects rasa, raga 1 and laya and for a musical composition to be meaningful and beautiful, it should be rich in bhava. In short, bhava is that which enables the transmission of experience of thoughts and emotions from the composer to the musician and from the musician to the listeners. We understand that bhava has to be experienced by every individual, in a personal and subjective manner and devotion is the pre-dominating aspect depicted in a musical composition. I am sure it would be of immense value to study the aspects of bhava, expressed by the musical trinity Thyagaraja, Dikshitar and Syama Sastri, who were contemporaries in the 18th century. […]

Source: “Efficacy of Bhava — An Evaluation” by Narayana Vishwanath, The New Indian Express (21st September 2015) >>

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  1. The most concise definition of a raga may be that by Joep Bor: a tonal framework for composition and improvisation. []

Upholding “Freedom of religion or belief, freedom of opinion and expression, the right to peaceful assembly and the right to freedom of association” (22 August) – United Nations

We must understand India today in the light of its rich, long argumentative tradition [while] appreciating not only the richness of India’s diversity but its need for toleration. – Nobel Awardee Amartya Sen >>

Freedom of religion or belief, freedom of opinion and expression, the right to peaceful assembly and the right to freedom of association are interdependent, interrelated and mutually reinforcing. They are enshrined in articles 18, 19 and 20 of the Universal Declaration of Human Rights. Upholding these rights plays an important role in the fight against all forms of intolerance and of discrimination based on religion or belief.

The open, constructive and respectful debate of ideas, as well as interreligious, interfaith and intercultural dialogue, at the local, national, regional and international levels, can play a positive role in combating religious hatred, incitement and violence.

Furthermore, the exercise of the right to freedom of opinion and expression and full respect for the freedom to seek, receive and impart information can play a positive role in strengthening democracy and combating religious intolerance.

Source: “International Day Commemorating the Victims of Acts of Violence Based on Religion or Belief”
URL: https://www.un.org/en/observances/religious-based-violence-victims-day
Date Visited: 15 August 2023

Even the brilliant Semmangudi Srinivasa Iyer, who was himself deeply religious, clarified that bhakti is essential for a Carnatic music, but this bhakti is for music, not for any personal deity.

Lakshmi Sreeram in “Carnatic Music Ruminating the Landscape”, Indian Horizons published by The Indian Council for Cultural Relations

S Rajam and disciples sing Harikesanallur Bhagavatar

S. Rajam (1919-2010) is credited with defining the visual identity of South India’s classical music. The present recording was made at his Mylapore home on 12 December 1997 when rehearsing for a lecture-demonstration; an annual event serving to highlight rare facets of South Indian (Carnatic) music. More about this recording & Sangita Kalasikhamani S. Rajam >>

Total duration: 82 min.(2 tracks mp3): Cassette side A 46:24, Cassette side B 36:22); for free download options visit https://archive.org/details/rajam-harikesanallur-lecdem >>

  • S Rajam June 2009 © Jayan Warrier

S Rajam teaching and receiving visitors friends including singer Vijayalakshmy Subramaniam, pianist-educator Anil Srinivasan & Ludwig Pesch Photos © Jayan Warrier (June 2009)

A couple of years ago, musician-friend Ludwig Pesch invited me to a music lesson taught by S Rajam. One of the disciples there was Vijayalakshmi Subramaniam. The bond between the master and the student became evident as the lesson wore on. As the midwinter sun cast lazy shadows across the courtyard, I saw the guru lapse into proud silences, letting his disciple sing unaided. […] The memory of that master lesson at Rajam’s home remains etched in my memory. As the master and the student rendered a composition in Ananda­bhairavi, a curious butterfly lodged itself on my shoulder. The stillness of that moment lent me a certain delicate joy. It was something deeper than contentment—an ability to stay absolutely rooted to the music. The rest, as they say, is mere noise.

Anil Srinivasan in “Her master’s voice and more” (Indian Express, 18 June 2011) >>

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Anyone who is familiar with the world of Carnatic music, would recognise S. Rajam’s paintings of the Trinity—Syama Sastry, Tyagaraja and Muthuswami Dikshitar. They are probably his most popular creations. But his paintings of the seven swaras based on the visualisation of the swara personalities described in Sangeeta Kalpadrumam—the treatise by vidwan Harikesanallur Muthiah Bhagavatar, are equally interesting and beautiful. That Kalpadrumam was the source of inspiration for these paintings has been acknowledged by the late Rajam himself, in the detailed notes that he has given to Sruti.

https://sruti.com/printeditions/sruti-back-issues-individual/amjad-ali-khan-amp-ustad-hafiz-ali-khan