Thesis (Ph. D.)--University of Minnesota, 1982. / Includes bibliographical references (p. [199]-208).

This work is concerned with the ways m which status is manifested, determined and altered within the Hindustani musical world of North India. This enquiry is undertaken by investigating two seemingly distinct, yet profoundly intertwined parts of North Indian classical music - the Hindustani violin and the significance of gender distinctions within Hindustani music. The 'stories' of both the Hindustani violin and of women as public performers of Hindustani classical music are inextricably tied to the larger paths of colonialism and nationalism, as they have manifested in India over the past century. At the same time, a deeper understanding of these two subjects is found in an engagement with the individuals who, through their personal actions and endeavors, have sought to shift their status within Hindustani music, thereby changing the Hindustani musical world in the process. This work is therefore grounded in the musical and social knowledge of the Hindustani violinist Kala Ramnath. Kala-ji's innovative violin technique, insights into gender differentiation within the Hindustani musical world, and articulated identity as a female Hindustani instrumentalist provide new understandings of how music, words, and personal action can affect a performer's relationship with the sociomusical world that she inhabits.

Bibliography: leaves 277-281.

Thesis (Ph. D.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 485-509). Available also in a digital version from Dissertation Abstracts.

Inaug.-diss.--Halle. / Lebenslauf. Published also without thesis note as Katalog der bibliothek der Deutschen morgenländlischen gesellschaft.

This dissertation explores the influence of regional cultures and, more specifically, of regionally based and regionally determined aesthetic preferences, on the Hindustani classical music tradition. The period from the late 19th century up through the decades following independence in 1947 saw a great deal of change both in Indian society as a whole and, by extension, within the Hindustani tradition. One of these changes was a transition in the demographic profile of the average Hindustani performer from Muslim, essentially low-caste, and hereditary, to Hindu, middle-class, and largely high caste. The other aspect of this demographic transition, namely that there was also a shift in the regional origins of the average classical musician from those native to North India to those native to the two historical regions of Bengal and Maharashtra, has largely been neglected by scholars, including ethnomusicologists. The primary assumption informing this study, then, is that, as almost every aspect of Indian culture varies markedly from region to region (including language, food habits, etc.), the regional cultures of Maharashtra and Bengal must have impacted classical music as it migrated to these regions. I approach this issue in two ways, which I term as the “Inside View” and the “Outside View.” The first represents a combination of the most common approach favored by scholars of Hindustani music, a generally objectivist approach that focuses primarily on biographies of individual musicians and on description and analysis of specifically musical processes, along with the viewpoint of the average Hindustani performer. The answers provided by this approach are partial. I complement this view of modern Hindustani music with the “Outside View,” which examines change in the tradition through the lens of larger social processes, particularly the influence of the tastes or aesthetic preferences of audience members native to these two regions, as well as by other aspects of regional culture, including the impact of semi-classical music genres native to these regions. As such, I not only demonstrate that specifically regional factors have impacted the style of classical music practiced in each of these regions, but also attempt to quantify and describe these changes. / text

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, enhanced by data from my violin performance and pedagogy lessons with Hindustani performer/teacher Kala Ramnath. The research includes documentation of the history of the violin's regional predecessors such as the sarangi, it's introduction to India, and the first compilation of Hindustani violin techniques and exercises, for basic sliding, shifting and improvisation. Knowledge of the Hindustani violin performance tradition offers Western musicians new perspectives on creative violin approaches, and enhances their ability to perform with greater flexibility and virtuosity.

Résumé of Thesis (Ph. D.)--University of Michigan, 1938. / Cover title. Thesis note on p. [103]. "Extrait des Archives néerlandaises de phonétique expérimentale, tome XV (1939)."

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