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A finding aid of music archived at the American Folklife Center of the Library of Congress
The preservation of intangible cultural heritage has assumed a global dimension through initiatives of international cultural organisations such as the UNESCO in recent decades. Arnold Adriaan Bake (1899-1963) was a scholar of Indian music and culture who conducted field work on the performing arts of South Asia at a time when global initiatives such as these were yet to evolve. Bake extensively documented the folk music and folk dance traditions of South Asia through nearly twenty years of fieldwork that he conducted during four journeys to the subcontinent between 1925 and 1956. In 1948, Bake became lecturer in Sanskrit and Indian Music at the School of Oriental and African Studies, which he remained until his demise in 1963. Throughout his career, Bake illustrated his writings on South Asian music with transcriptions of recordings and enhanced his lectures on Indian performing arts with presentations of audio recordings and silent films. After 1963, the material collected by Bake remained at the School of Oriental and African Studies, from where audio and video recordings were later transferred to the British Library in London. Since the 1980s, Bake’s field work was the subject of several restudies that aimed to evaluate continuity and change in the performing arts of South Asia on the one hand and to repatriate his recordings to relevant communities in South Asia on the other hand. The restudies had different regional foci, with Nazir Jairazbhoy and Amy Catlin-Jairazbhoy restudying Bake’s South Indian field work, Carol Tingey evaluating Bake’s field work in Nepal and Mousumi Bhowmik repatriating recordings to West Bengal. Copies of Bake’s field recordings are now also available at the Archives and Research Centre of Ethnomusicology of the American Institute of Indian Studies in Gurgaon. This paper discusses the repatriation of the Bake collections of SOAS and the British Library Sound Archive to societies in South Asia and its relevance for these and diasporas in the United Kingdom. Through this, the paper throws light on the diverse agendas of performing communities, academic field workers, academic institutions and archiving institutions that are involved in processes of repatriation.
Traditional folk song in modern Japan: sources, sentiment and society
Traditional folk song: bibliography2008 •
Bibliography for this book on traditional folk song in modern Japan
Music and Society in South Asia: Perspectives from Japan (ed. Terada Yoshitaka)
Introduction (Music and Society in South Asia)2008 •
Traditional folk song in modern Japan: sources, sentiment and society
Traditional folk song: general index.pdf2008 •
Index (though not of musical works) to this book on traditional folk song in modern Japan
The tradition of composing musicological texts and treaties is undoubtedly a glorious part of India's cultural heritage. At the very beginning the oldest documents of Indian literature, the Vedas, convey the first written information on Indian music. It is seen that, since the early days a set of specific rules have been adopted by the scholars and performers to maintain clarity in certain distinct forms of chanting, singing, dancing, instrument playing and other allied activities in the field of performance. 1 This system leads to originate the textual tradition of Indian performing art. The creative diversity became more prominent later on with the establishment of the heterogeneous system of Rāga-Rāgiṇī classification in Indian music. A large number of texts written in ancient and medieval India paid quite a little attention to Rāga-Rāgiṇī classification system. Doctrines of Hanumān, Śiva or Brahma or Someśvara, Bharata, Kallinātha, Indraprastha, Gaṇesa and many such scholars came up in this context. The vivid picture of Rāga-Rāgiṇī classification with explanation is undoubtedly helpful for understanding the origin, development and importance of this cultural practice in respect of the broader canvas of Indian music. A host of eminent scholars have been successful to unfold the profound mysteries embedded in the concept of Rāga-Rāgiṇī classification with the help of available textual documents. However, the work is still far from completion due to lack of available information. A good number of texts on Indian musicology are still lying confined in manuscript form. Rāgamālā, a descriptive work on Indian Rāga-Rāgiṇīs by Kṣemakarṇa is one such unnoticed treasury of medieval India. The work under discussion interestingly represents the existence of the age old concept of Rāga-Rāgiṇī classification system. The present paper is therefore sincerely aimed at tracing out the significance of the said text in researching the unrevealed elements of Indian music. History of musical activities is nothing but a part of human's cultural evolutions. Records of the history collected from different sources of information are helpful to understand how people lived and worked from the earliest times to the present day. The various sources of history are like the many pieces of a puzzle. These sources can be broadly classified into two groups – archaeological and literary. Among the literary sources manuscripts are major components. Handwritten records of the past in the form of books are known as manuscripts.
2018 •
DOWNLOAD FROM and CITE AS: Katherine Butler Schofield & David Lunn. (2018). The SHAMSA database 1.0 – Sources for the History and Analysis of Music/Dance in South Asia, c. 1700–1900. (Version 1.0) [Data set]. Zenodo. http://doi.org/10.5281/zenodo.1445775 - - - - - - - The SHAMSA* bibliographical database and digital collection has been developed as part of the European Research Council project Musical Transitions to European Colonialism in the Eastern Indian Ocean (MUSTECIO, Grant no. 263643, PI Katherine Butler Schofield, 2011–2015/16). The attached xlsx document, licensed as a CC-BY-NC resource, provides the bibliographical metadata of Version 1.0 of the database. It describes well over 300 major written sources c. 1700-1900 for the history and analysis of North Indian music and dance in Mughal and British-colonial South Asia. About one third – well over 100 – of these sources are also currently held in digital copies in the Department of Music at King’s College London. The SHAMSA digital collection already constitutes the largest single repository of major primary sources on Indian music and dance in the world, and is planned to be a major ongoing resource for future researchers on Indian music and cultural history. The sources of SHAMSA 1.0 were located and consulted Jan 2011– Dec 2015 by members of the Awadh Case Study of the ERC Musical Transitions project, including James Kippen, David Lunn, Allyn Miner, Katherine Butler Schofield, Margaret E Walker, and Richard David Williams. The initial collection has clearly defined limits: it 1) focusses on the Gangetic plains (or Doab) region between Delhi, Lucknow, and Calcutta; 2) during the timeframe c. 1700-1900 i.e. explicitly before the era of recorded sound (but with some 17C and 20C outliers, and some materials from e.g. Hyderabad, Kashmir). 3) The linguistic focus of the collection is on works largely in Persian, Brajbhasha/Hindavi, Hindi, Urdu and Bengali, but with some works in Sanskrit, English, and other Northern Indian vernacular languages. Sources include music and dance treatises, biographical works (tazkiras), song collections, ethnographic works, department archives, encyclopedias, cosmographies, theatre scripts, moral and ethical tracts, histories, and a tiny handful of the large number of extant ragamala painting sets. It is critically important to note that this is by no means a complete collection of everything written on music in North India in the period of transition from the Mughal to the British empires. We have been completely overwhelmed by the volume and richness of the materials we have uncovered for the history of music and dance before the period of recorded sound. This bibilography should be considered a mere starting point; we are already aware of a large number of sources, especially visual, that we have not yet included. Version 1.0 consists only of (largely) textual sources that at least one of the team members personally consulted 2011–15, and considered to include substantial and noteworthy musical and/or dance-related contents (very occasionally key sources are also included that we know about but have been unable to locate yet, despite our best efforts.) We know that there are many more written and visual sources for North Indian music and dance beyond the geographical and temporal scope of this database – for example for Panjab, Rajasthan, Gujarat, Maharashtra, etc. – but even considering our core region and timeframe we keep uncovering more sources all the time, and aim to update the open access versions of the database periodically. We would be delighted to hear from anyone who has information about sources that are not yet in our database that we might be able to consult and include. Well over one third of the works in the bibliographical file are already available to consult as digital copies in situ at King’s College London. The copyright statuses of these copies are exceedingly complex; but we aim to make as many of these available via Creative Commons licenses as and when we gain approval from the holders of the original documents to do so. Please do get in touch with Dr Katherine Schofield at King’s College London if you wish to consult the digital copies in the SHAMSA collection, or if you have suggestions of works whose metadata should be included in the bibliographical list. (Version 1.0 was completed 1 Jan 2016, and checked/exported 2 Oct 2018.) *Deriving from the Persian word "shams", meaning "sun", a shamsa is both a ray of solar light often indicating the bestowal of special knowledge or enlightenment, and the technical term for an illuminated orb-like frontispiece in Islamicate manuscripts that often encloses the patron's name, titles, and/or portrait — see for example the beautiful shamsa for the Mughal emperor Shah Jahan that adorns the SHAMSA Community page (Metropolitan Museum of Art). In later lithographed works on music in Urdu, the title of the manuscript would often be enclosed in a shamsa. But the name SHAMSA also pays homage to the first Persian treatise on North Indian music written by an imperial hereditary musician, the Shams al-Aswat by Ras Baras Khan (1698), in which he named shams as the presiding star of the musical note Ma, the fourth scale degree (MUSTECIO 0131/British Library, I O Islamic 1746, f. 19r).
2001 •
This is the fourth and last paper catalogue of Pan Records (Leiden, Netherlands). It lists all releases and publications from 1988 till 2001 in the areas of ethnic and traditional music. For each release there is a photo of the front and a small description. There is a list (p. 35) of the ethnomusicologist co-operators of CD-releases. There is a list (p. 38) of releases categorized by country or region. LP-releases from 1976 till 1988 are not listed in the Millennium catalogue itself, but are added as a 4-page addendum in a 1991 publication
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