Music in India is not merely an art form; it is a civilizational expression deeply rooted in centuries of philosophical inquiry, social interaction, and cultural evolution. From the meditative depths of ragas to the spirited rhythms of folk traditions, Indian music functions as both a mirror and a map of the subcontinent's cultural and spiritual heritage. It occupies a unique position at the intersection of ritual and resistance, pedagogy and performance, healing and innovation. Indian music is not static it is ever-evolving, responding to shifting geographies, technologies, and ideologies, while steadfastly preserving its core values of emotional resonance, spiritual connectivity, and aesthetic sophistication. Indian Music: Tradition, Innovation and Influence brings together diverse scholarly voices and perspectives to explore these many layers of Indian musical expression, drawing upon historical inquiry, lived experiences, therapeutic application, and interdisciplinary analysis.
Section I: Cultural and Regional Foundations begins with a study of academic and non-academic institutions in Meghalaya, highlighting their role in preserving indigenous folk traditions through curricular and infrastructural reforms. The musical mosaic of Kashmir is richly represented in two chapters-one capturing the interrelationship between traditional, contemporary, and classical styles, and the other offering a detailed ethnographic lens on Kashmiri folk music. This section culminates in a nuanced exploration of Bhand Pather, analyzing the instrumentation of this unique Kashmiri folk theatre form to unveil its layered aural dimensions.
Section II: Devotional Traditions and Classical Roots delves into India's sacred musical lineages. It features an analysis of patakshars from medieval musical texts as applied to Avandha percussion instruments, underscoring the codified rhythmic knowledge of ancient times. Another chapter traces the spiritual and cultural contributions of Sufism to Indian music, especially through devotional genres like qawwali. The final contribution in this section examines the musical legacy of the Namdhari Sikh community, focusing on their disciplined pedagogy, liturgical formats, and resistance to colonial influences, all while upholding the purity of raga traditions.
Section III: Aesthetic and Philosophical Perspectives
invites reflection on the emotional and intellectual dimensions of music. A comparative aesthetic study of Hindi ghazals through the interpretations of Ustad Nusrat Fateh Ali Khan and Ustad Haji Aslam Sabri offers a lens into lyrical depth and performative power. Another chapter spotlights the emotive music of Gaman (1978) by Jaidev, analyzing how film music communicates the migrant's struggle in a postcolonial urban landscape. Rounding out this section is an exploration of the intersection between music and mathematics, revealing the logical, rhythmic, and harmonic principles underpinning Indian classical traditions.
Section IV: Music, Healing, and Science examines how music intersects with health and human development. One chapter presents a clinical case series detailing the therapeutic effects of Raga Bhairav and Bhairavi on PTSD and dissociation among adolescent girls who have survived trauma. Another investigates the potential impact of musical vibrations on human embryonic development, blending musical acoustics with biomedical inquiry to suggest deeper links between sound and life.
Section V: Music in Contemporary Practice and Global Contexts maps the trajectory of Indian music beyond traditional boundaries. A chapter on the South Indian diaspora analyzes how Carnatic pedagogy has been institutionalized abroad, preserving tradition while adapting to global contexts. Another study investigates the influence of music videos and social media on contemporary Indian film culture, documenting changing aesthetics and consumption patterns. Additional contributions include an analysis of the incorporation of Punjabi folk music in modern theatre, the role of music in enhancing advertisement appeal, and a forward-looking discussion on reshaping ethnomusicology to better serve Indian music scholarship on the global stage.
Section VI: Performance, Mystery, and Hybrid Forms
explores the fusion of tradition and innovation in performative arts. One chapter delves into the metaphysical and unresolved enigmas of musical perception and cognition, inviting readers into the mystical terrain of sonic inquiry. Another presents a comparative analysis of the Kaliya Daman story as portrayed in classical Kathak and folk string puppetry, highlighting how narrative, movement, and music collaborate across genres to convey mythology.
Together, these chapters affirm that Indian music is a dynamic confluence of sacred tradition and contemporary expression sustained through education, performance, community, and critical inquiry. This volume aspires to contribute meaningfully to the discourse on Indian musicology and serve as a reference for scholars, practitioners, educators, and culturally curious readers alike.
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