Relevant bibliographies by topics / India Music / Dissertations / Theses
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Dissertations / Theses on the topic 'India Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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1

Nadadur, Kannan Rajalakshmi. "Performing 'religious' music : interrogating Karnatic Music within a postcolonial setting." Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/18272.

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This research looks at contemporary understandings of performance arts in India, specifically Karnatic Music and Bharatnatyam as ‘religious’ arts. Historically, music and dance were performed and patronized in royal courts and temples. In the early 20th century, increased nationalist activities led to various forms of self-scrutiny about what represented ‘true’ Indian culture. By appropriating colonial discourses based on the religious/secular dichotomy, Karnatic Music was carefully constructed to represent a ‘pure’ Indian, specifically ‘Hindu’ culture that was superior to the ‘materialistic’
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2

Woolf, Rachel 1988. "Uncovering Aspects of Western and Indian Music in Vanraj Bhatia's Night Music for Solo Flute, and Selected Other Works." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248444/.

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Born in 1927 in Bombay, Vanraj Bhatia is an Indian composer of music for concerts, film, television, opera, meditation, and commercial jingles. His musical style is unique, stemming from his training in both Western and North Indian classical, or Hindustani, music. Little is known about Vanraj Bhatia in the Western classical world, and in India he is recognized primarily as a composer of film music. This dissertation aims to bring awareness of Vanraj Bhatia's significance as a Western classical composer, focusing on uncovering the cross-cultural influences of his only solo flute piece, Night M
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3

Nowak, Florence. "Regional music goes digital : challenges of the Garhwali music industry (North India)." Paris, EHESS, 2015. http://www.theses.fr/2015EHES0668.

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Ma thèse porte sur l'industrie musicale du Garhwal, une région himalayenne de l'Inde du Nord. Une importante production en dialecte local étiquetée « garhwali music » ou « garhwali geet » s'y est développée depuis les années 1950, d'abord sous forme de cassettes, puis de disques compacts et de clips vidéo ; mais après un développement important de la diffusion numérique dans les années 2000, la production semble à présent être entrée en crise. Concomitamment, la création de l'état d'Uttarakhand en 2001 a suscité la mise en place d'une politique culturelle régionale, tandis que la généralisatio
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4

Thompson, Gordon Ross. "Music and values in Gujarati-speaking Western India." An electronic book accessible through the World Wide Web; click for information, 1987. http://proquest.umi.com/pqdweb?did=753729281&sid=1&Fmt=2&clientId=78910&RQT=309&VName=PQD.

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Monteiro, Luís Carlos Caçador. "Internationalization plan of Nmusic to India." Master's thesis, NSBE - UNL, 2013. http://hdl.handle.net/10362/11617.

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Robinson, N. Scott. ""Tradition and Renewal: The Development of the Kanjira in South India"." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1374989200.

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7

Pearson, Lara Ann. "Gesture in Karnatak music : pedagogy and musical structure in South India." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11782/.

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This thesis presents an examination of gesture in Karnatak music, the art music of South India. The topic is approached from two perspectives; the first considers Karnatak music structure from a gestural perspective, looking both at the music itself and at the gestures that create it, while the second enquires into the role played by physical gesture in vocal pedagogy. The broader aims of the thesis are to provide insight into the musical structure of the Karnatak style, and to contribute to wider discourses on connections between music and movement. An interdisciplinary approach to the resear
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Scarfe, Jill. "Primary school music : the case of British Punjabi Muslims." Thesis, University of Derby, 2001. http://hdl.handle.net/10545/304839.

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Alter, Andrew Burton. "Hindustani vocal music : a case study of oral transmission." Title page, contents and abstract only, 1989. http://web4.library.adelaide.edu.au/theses/09MUM/09muma466.pdf.

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Robinson, N. Scott. "Tradition and renewal| The development of the kanjira in South India." Thesis, Kent State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3618977.

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<p> This dissertation is a study of the development of a relatively new musical instrument in traditional South Indian classical music known as the <i> kanjira,</i> a diminutive single-headed frame drum with a single pair of jingles. Iconographic studies and published accounts detail much of the instrument's history, which involved transculturation and diffusion from North India to South India. Organological and ethnographic studies show that significant change has occurred as the tradition migrated. Musical and cultural analyses detail the intricacies of the musical performance practice and s
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Boonsermsuwong, Praphai. "A Contextual Approach to Multi-dimensional Analyses of Sai Bhajan: A Vocal Genre from South India." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398093465.

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12

Tjerned, Veronica. "Granatäppleblomknopp : rytm som dramatisk båge." Thesis, Stockholms konstnärliga högskola, Institutionen för skådespeleri, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-492.

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ABSTRACT How can I as a Swedish dancer devoted to the Indian classical dance form, kathak, re root it into my own cultural sphere? And express topics beyond the Sub Indian continent without diluting the essence of the art form? I don’t want to create a new dance style.I don’t want to add anything. I want to explore and investigate how I within the tradition of kathak dance and Hindustani music can shuffle the classical format in order to create a longer narrative.  To create a dramaturgical nerve in the performance and take it further than the traditional short dances and compositions connecte
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Diehl, Keila. "Echoes from Dharamsala : music in the lives of Tibetan refugees in north India /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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14

Varma, Anushree. "The embroidered word : using traditional songs to educate women in India." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29518.pdf.

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15

Hutchison, Callie. "An Introduction to Hindustani Violin Technique." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/321309.

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In this document I fuse a study of performance technique and pedagogy, introducing Hindustani violin technique through the lens of a performer trained in western violin practice. While a large body of research on Hindustani music theory, history, and the performance of other instruments currently exists, very little has been written about the Hindustani violin. Aside from a few short interviews with prominent Hindustani violinists, nothing has been published on technique, performance practice or pedagogy. My research involves a comparative analysis of Hindustani and Western violin techniques,
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Gude, Tushara Bindu. "Between music and history Rāgamālā paintings and European collectors in late eighteenth-century northern India /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=2023838261&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Mutter, Morgan L. "Delhi Secondary School as a temple of worship : musical choices and devotional diversity." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99386.

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Delhi Secondary School is a public school with approximately 6,000 students; 300 teachers, 6 administrators, and countless headmistresses and support staff. It claims that its admissions policy is non-discriminatory, boasting that it admits students from all castes, religions and genders. Ethnographic tools, participant observation, and interview were used to discover how Delhi Secondary School supports religious plurality within their educational community as advertised on their web site, specifically how the music specialist teachers in Delhi Secondary School recognize students' religious di
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18

Harris, Myranda Leigh. "Performing the “Classical”: the Gurukula System in Karnatic Music Society." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149599/.

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Recent scholarship has revealed that the representation of Karnatic music as a “classical” art form in South Indian society was a complicated process bound to the agendas of larger early twentieth-century nationalist projects in India. This thesis explores the notions of classicalness as they are enacted in Karnatic music society through the oral transmission process from guru to shishya, or disciple. Still considered one of the most important emblems of the “classical,” the gurukula (lit. “guru-family”) system has been transformed to accommodate more contemporary lifestyles and reinscribed
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19

Ancín, Itziar. "The Kabir Project. Bangalore and Mumbai (India)." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23290.

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The Kabir Project (K.P.) was born in Bangalore, India, in 2002, after the Gujarat pogrom, which occurred in the same year. In the context of increasing divisions in Indian society, defined by religion, social class, caste and gender, this research explores how this initiative, through live concerts and documentary films, spreads the folk music traditions of the 15th century mystic poet Kabir along with his messages of unity and understanding between confronted identity groups. This study presents the context of violence between Muslims and Hindus since the Indian Partition and the reasons for
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20

Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.

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In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists
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21

Katz, Jonathan. "The musicological portions of the Saṅgītanārāyaṇa : a critical edition and commentary". Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:14ee1fc0-dcae-4183-9481-0add2a7d42f3.

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The Saṅgītanārāyaṇa, attributed to the Gajapati king Nārāyad nadeva of Parlākhimidi but almost certainly composed by his guru Kaviratna Purud sottamamisra, is the most extensive surviving Sanskrit treatise on music to have been composed in the eastern region of India now known as Orissa. The treatise contains four chapters, gītanirnaya (on vocal music), vādyanirṇaya (on instruments), nāṭyanirṇaya (on dance and the mimetic art), and śuddhaprabandhodāharaṇa (sample compositions of the śuddha and sālaga varieties). The thesis contains a critical edition of the first, second and fourth of these ch
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22

Gulati, Sankalp. "Computational approaches for melodic description in indian art music corpora." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398984.

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Automatically describing contents of recorded music is crucial for interacting with large volumes of audio recordings, and for developing novel tools to facilitate music pedagogy. Melody is a fundamental facet in most music traditions and, therefore, is an indispensable component in such description. In this thesis, we develop computational approaches for analyzing high-level melodic aspects of music performances in Indian art music (IAM), with which we can describe and interlink large amounts of audio recordings. With its complex melodic framework and well-grounded theory, the description of
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23

Utter, Hans Fredrick. "Networks of Music and History: Vilayat Khan and the Emerging Sitar." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308392450.

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24

Krishnamurthy, Thanmayee. "Sing Rāga, Embody Bhāva: The Way of Being Rasa." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505144/.

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The rasa theory of Indian aesthetics is concerned with the nature of the genesis of emotions and their corresponding experiences, as well as the condition of being in and experiencing the aesthetic world. According to the Indian aesthetic theory, rasa ("juice" or "essence," something that is savored, that is tasted) is an embodied aesthetic experienced through an artistic performance. In this thesis, I have investigated how the aesthetics of rasa philosophy account for creative presence and its experiences in Karnatik vocal performances. Beyond the facets of grammar, Karnatik rāga performance
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25

Anthony, Douglas Richard. "''Acting In'': A Tactical Performance Enables Survival and Religious Piety for Marginalized Christians in Odisha, India." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429801174.

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26

Muffitt, Nicole Christine. "Performing Desi: Music and Identity Performance in South Asian A Cappella." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1562849355826271.

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27

Srinivasamurthy, Ajay. "A Data-driven bayesian approach to automatic rhythm analysis of indian art music." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398986.

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Las colecciones de música son cada vez mayores y más variadas, haciendo necesarias nuevas fórmulas para su organización automática. El análisis automático del ritmo tiene como fin la extracción de información rítmica de grabaciones musicales y es una de las principales áreas de investigación en la disciplina de recuperación de la información musical (MIR por sus siglas en inglés). La dimensión rítmica de la música es específica a una cultura y por tanto su análisis requiere métodos que incluyan el contexto cultural. Las complejidades rítmicas de la música clásica de la India, una de las may
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Salamon, Justin J. "Melody extraction from polyphonic music signals." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/123777.

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Music was the first mass-market industry to be completely restructured by digital technology, and today we can have access to thousands of tracks stored locally on our smartphone and millions of tracks through cloud-based music services. Given the vast quantity of music at our fingertips, we now require novel ways of describing, indexing, searching and interacting with musical content. In this thesis we focus on a technology that opens the door to a wide range of such applications: automatically estimating the pitch sequence of the melody directly from the audio signal of a polyphonic music re
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Bandopadhyay, Sanjoy. "Music and Music Star: Promotion and Musical Values. Presentation Focus: Indian Classical Music." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71808.

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Verdonk, Sophie. "MAKE IT INDIE : Att producera och släppa musik på egen hand." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2823.

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This independent study has the intention of bringing forward increased knowledge about  methods that may be used by an artist, music producer or songwriter in order to reach out with their own music independently without a record company being involved. Through artistic research, four musical pieces have been produced of which two consequently were released on different digital music streaming platforms. The study includes on one hand the process of creating the music, and on the other hand the entrepreneurship regarding the music release, i.e. the digital distribution and even subjects regard
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Magriel, Nicholas Fairchild. "Sarangi style in North Indian art music." Thesis, University of London, 2002. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271640.

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Leung, Pui Yee. "Selling out the indie music?: re-examining the independence of Hong Kong indie music in the early 21st century." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/114.

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The rebellious spirit generated by the 1970s punk movement in the UK and the US influenced many local Hong Kong indie bands. However, in the early part of the 21st century, local indie music has created different kinds of relationship with the mainstream and commercial fields, which seem to have the potential to destroy the original meaning of indie music. The aims of this research were therefore to re-examine the independence of indie music in the early 21st century; to understand the role played by indie music and artists within the local music scene; to describe the “authenticity” of indie
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33

Reinke, Bryan E. "Indie Music In The Age Of The Internet." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/634.

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In my paper I explored the success of independent artists on the Internet over the past three to five years while also examining the diminishing need for major record labels with regards to an independent artists success. I chose to examine this trend primarily because we are seeing the success of many artists to varying degrees who use the Internet to promote their music on a scale we’ve never seen before. Because of this, the entire structure of the music industry is beginning to change drastically and people have greatly begun to rethink the way we discover and enjoy music as well as the ty
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34

Oppenheim, Michael Hale. "Cross-cultural pedagogy in North Indian classical music." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43062.

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This thesis is an investigation of pedagogy in North Indian classical music. Historical, cultural, and philosophical elements of pedagogy in the Hindustani musical tradition are addressed in an overview of music education in traditional Indian contexts, the twentieth century, and in cross-cultural contexts. Themes include orality in Indian culture, the traditional guru-shishya parampara, the role of nationalism in twentieth century educational reforms, and the impact of technology in the latter half of the twentieth century. Trends in music education in India are then compared and contrasted w
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Farrell, Gerard James. "Indian music and the west : a critical history." Thesis, Goldsmiths College (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309508.

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Damm, Robert J. 1964. "American Indian Music in Elementary School Music Programs of Oklahoma : Repertoire, Authenticity and Instruction." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278099/.

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The purpose of this study was to determine the instructional methods of Oklahoma's elementary school music educators with respect to the inclusion of an authentic repertoire of American Indian music in the curriculum. The research was conducted through two methods. First, an analysis and review of adopted textbook series and pertinent supplemental resources on American Indian music was made. Second, a survey of K-6 grade elementary music specialists in Oklahoma during the 1997-1998 school year was conducted.
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Cook, Pat Moffitt. "Ghost healer : music healing in a north Indian village /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11230.

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Liu, Li-Wei. "BlogYourFavMusic.com : - A case study of Nordic indie music in Taiwan." Thesis, Jönköping University, JIBS, Economics, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-12508.

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Cummings, Joanne. "Sold out ! an ethnographic study of Australian indie music festivals /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.

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Thesis (Ph.D.)--University of Western Sydney, 2007.<br>A thesis submitted in total fulfillment of the requirements for the degree of Doctor of Philosophy to the College of Arts, School of Social Sciences, University of Western Sydney. Includes bibliographical references.
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Bora, Menaka. "Globalization, Indianness and neo-traditionality in Indian contemporary experimental music." Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/4889/.

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Smith, Kelley Lyn. "From Pejuta To Powwow: The Evolution Of American Indian Music." W&M ScholarWorks, 2020. https://scholarworks.wm.edu/etd/1593092004.

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In the current climate of American Indian culture in the United States, the impact of the internet on powwow music and the electronic sharing of music has superseded the more traditional sharing of music in Native cultures. Due to the unique history of American Indian cultures, Native music changed, or evolved, from medicinal uses, pejuta, to expressionism, a method in which to cope with and express the effect history has had on the American Indian people and a way in which to bond with one another in these shared experiences. The evolution of Native music is a traditional form of historical p
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Wertheim, Ira O. "Prior Experience and Synchronization to North Indian Alap." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354753664.

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Kolawole, Gbolahan Cornelius. "The resilience of labrosones in coastal communities bordering the Indian Ocean." Master's thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32710.

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The resilience of labrosones bordering the Indian Ocean is an investigation that has gathered and presented both findings and arguments from related scholarship that highlight the distribution of labrosones along the research region and emphasizes their socio-musical significance in sustaining cultural traditions that have helped to define these communities. Conclusions drawn from the distribution study further uncovered the religious, cultural, and social significance of labrosones. These findings were engaged in order to broaden the systematic approach of organology to form a contextual, cul
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White, Rachel Frances. "British indie music in the 1990s : public spheres, media and exclusion." Thesis, Goldsmiths College (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435501.

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Developing existing theories of public and counterpublic spheres, this thesis moves beyond theoretical ideals to formulate a working model of the cultural counterpublic sphere in which British indie music is understood, legitimated and ascribed value. This 'indie public' is then interrogated with the central aim of understanding the continued discrepancy in levels of male and female participation in British indie music at every level during the 1990s. Given the centrality of the media to contemporary, geographically dispersed publics it is through a discursive analysis of the British music pre
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Hyder, Rehan. "Indie bands and Asian identity : negotiating ethnicity in the UK music industry." Thesis, Staffordshire University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285304.

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Thannoo, Babita. "Mauritian sega music and dance rhythm and creolisation in the Indian Ocean." Thesis, University of Leeds, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595796.

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This thesis examines the Mauritian music and dance form known as sega and its performance of embodied creolisation through rhythm. It argues that sega's Afro-diasporic form encodes a performative history of sacred African presence in Mauritius and the Indian Ocean. This history can be traced to an Indo-oceanic maritime history of contact, trade and settlement that incorporated Mauritius within a regional network comprising East Africa and the wider Indian Ocean. I explore sega's origins in sacred rituals performed by slaves and argue that sega's contemporary secular performance perpetuate sacr
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Clayton, Martin. "The rhythmic organisation of North Indian classical music : tal, lay and laykari." Thesis, SOAS, University of London, 1993. http://eprints.soas.ac.uk/29282/.

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North Indian (Hindustani) classical music is remarkable for both the sophistication and the diversity of its rhythmic organisation. Rhythm and metre are controlled by a number of concepts which, although developed over the course of many centuries, have acquired new meaning as a result of radical changes in performance practice over the last century. This work examines the rhythmic organisation of North Indian music on all levels- from large scale performance scheme, to metric structure, to the generation and variation of surface rhythm patterns. It does so by synthesising two research methodo
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48

Pope, Lindsay (Choral conductor). "Beyond the Binary: The Intersection of Gender and Cross-Cultural Identity in Reena Esmail's Life and Choral Works." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505203/.

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Beyond the Binary explores the intersection of gender with cross-cultural identity in composer Reena Esmail's professional life and choral music. This intersection manifests in her musical style, which accesses the resonant spaces between Western and Indian classical music. I argue that it is through the convergence of Esmail's gender identity with her cross-cultural identity that her compositions challenge gender norms and break down perceived barriers between East and West, inviting her listeners into an intersectional feminist space. This project synthesizes musicological, theoretical, and
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Liu, Menghan. "Rephrasing Mainstream And Alternatives: An Ideological Analysis Of The Birth Of Chinese Indie Music." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351367197.

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Lifter, Rachel. "Contemporary indie and the construction of identity : discursive representations of indie, gendered subjectivities and the interconnections between indie music and popular fashion in the UK." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5681/.

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This thesis presents a historicized account of the construction of identity within contemporary indie. Indie emerged as a music scene in the early 1980s, and existing scholarly accounts of it focus on practices of music production and consumption. Indie has expanded and diversified over the last 30 years, however. Crucially, in the UK it has become increasingly interconnected into popular fashion – a development that has transformed indie from being a space solely for the construction of masculine identities, as it was in the 1980s, into a space for the construction of both masculine and femin
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