{"title":"Performing environmentalisms: expressive culture and ecological change","authors":"Keith Howard","doi":"10.1080/17411912.2022.2032243","DOIUrl":null,"url":null,"abstract":"music for hundreds of years, the rise in popularity of non-Indian music genres within mainstream North Indian society, the often rigid conservatism of the sāran gī musicians themselves, coupled with an influx of increasingly popular alternative accompanying instruments for Hindustani classical music such as violin and harmonium (not to mention the considerable difficulties involved in both learning to play and to maintain the instrument), have all conspired to mark the sāran gī as an endangered species. Nevertheless, the sāran gī endures; and Magriel himself notes that his own latest work demonstrates ‘the apparent paradox that the sāran gī is alive and well, albeit in increasing obscurity’ (29). In summary, Sāran gī Style in Hindustani Music will provide compelling reading for ethnomusicologists, South Asia specialists, North Indian classical music enthusiasts and music analysts alike, whilst being an essential volume for any serious student of the sāran gī.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2022-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Ethnomusicology Forum","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17411912.2022.2032243","RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 1
Abstract
music for hundreds of years, the rise in popularity of non-Indian music genres within mainstream North Indian society, the often rigid conservatism of the sāran gī musicians themselves, coupled with an influx of increasingly popular alternative accompanying instruments for Hindustani classical music such as violin and harmonium (not to mention the considerable difficulties involved in both learning to play and to maintain the instrument), have all conspired to mark the sāran gī as an endangered species. Nevertheless, the sāran gī endures; and Magriel himself notes that his own latest work demonstrates ‘the apparent paradox that the sāran gī is alive and well, albeit in increasing obscurity’ (29). In summary, Sāran gī Style in Hindustani Music will provide compelling reading for ethnomusicologists, South Asia specialists, North Indian classical music enthusiasts and music analysts alike, whilst being an essential volume for any serious student of the sāran gī.
期刊介绍:
Articles often emphasise first-hand, sustained engagement with people as music makers, taking the form of ethnographic writing following one or more periods of fieldwork. Typically, ethnographies aim for a broad assessment of the processes and contexts through and within which music is imagined, discussed and made. Ethnography may be synthesised with a variety of analytical, historical and other methodologies, often entering into dialogue with other disciplinary areas such as music psychology, music education, historical musicology, performance studies, critical theory, dance, folklore and linguistics. The field is therefore characterised by its breadth in theory and method, its interdisciplinary nature and its global perspective.