Nazir Ali Jairazbhoy
Biographic Data
| ID | 3648404 |
|---|---|
| NAME | Nazir Ali Jairazbhoy |
| GIVEN NAMES | Nazir Ali |
| FAMILY NAME | Jairazbhoy |
| SIGNATURE | JAIRAZBHOY N A |
| AFFILIATIONS | University of London |
| VERIFIED | No |
| TOTAL WORKS | 38 |
| TOTAL CITATIONS | 14 |
| AUTHOR COUNT | 38 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1958 |
| LATEST PUBLICATION YEAR | 2008 |
| H-INDEX | 2 |
What Happened to Indian Music Theory? Indo-Occidentalism
Research Article| October 01 2008 What Happened to Indian Music Theory? Indo-Occidentalism? Nazir Ali Jairazbhoy Nazir Ali Jairazbhoy Search for other works by this author on: This Site Google Ethnomusicology (2008) 52 (3): 349–377. https://doi.org/10.2307/20174604 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Nazir Ali Jairazbhoy; What Happened to Indian Music Theory? Indo-Occidentalism?. Ethno…
Vijayawada 1963: Voleti and Friends
India, subcontinent of
United States of America
Bake, Arnold Adriaan
Musical Instruments of Kacch and Its Neighbors
Retooling a Tradition: A Rajasthani Puppet Takes Umbrage at His Stringholders, a Fictive Documentary
Retooling a Tradition: A Rajasthani Puppet Takes Umbrage at His Stringholders
Hi-Tech Shiva and Other Apocryphal Stories
Bake Restudy 1984
Hi-Tech Shiva and Other Apocryphal Stories: An Academic Allegory
A Musical Journey through India: 1963-1964. A Series of Ten Talks Given for the BBC Third Programme in 1969
Kathputli: The Art of Rajasthani Puppeteers
A Musical Journey Through India
Laxmi G. Tewari: Master Indian Vocalist
Field Manual for Ethnomusicology
Essays in Honor of Peter Crossley-Holland on His Sixty-Fifth Birthday
The South Asian Double-Reed Aerophone Reconsidered
Since the publication of my A Preliminary Survey of the Oboe in (1970), an article that was largely based on a paper read at the Royal Anthropological Institute symposium in London (Music and History, 196%2), there has been a direct response from B. C. Deva, The Double-Reed Aerophone in (1976), and other informative publications such as T. S. Parthasarathy's Nagasvaramthe South Indian Shahnai (1973). Debate being one of the most important aspects…
Rajasthan: Les Musiciens Du Desert
Musical Instruments in Indian Sculpture
Music in Western Rajasthan: Stability and Change
Ethnologists now generally accept the idea that all cultures are dynamic and ever changing (Berreman, 1968:338). It is clear, however, that the rate of change varies not only from one culture to the next, but also with respect to the different elements within that culture. In some ways, a society is rather like an octopus with its tentacles periodically stretching in different directions—each motion causing at least a slight change in the alignme…
Electronic Aids to Aural Transcription
n view of the continuing importance of aural transcription in ethnomusicology, it is surprising that so little effort seems to have been expended in simplifying even the mechanical operational problems of electronic equipment involved in the process of transcription. The greatest difficulty in producing a reasonably accurate transcription is due to the transient nature of music. A complex musical passage needs to be heard many times and often nec…
The "Objective" and Subjective View in Music Transcription
L thnomusicology could never have grown into an independent science if the gramophone had not been invented (Kunst 1959:12). Prior to the invention of the phonograph, scholars of non-Western music were obliged to transcribe music by ear in the field; the resulting notations, however well-intended, usually fell short in every respect-i.e., both rhythmically and as regards pitch (ibid.). Early scholars often transcribed music during festivals and r…
The Music and Musical Instruments of Southern India and the Deccan
An Interpretation of the 22 Srutis
Intonation in present-day North Indian classical music
Most Sanskrit texts dealing with Indian music refer to 7 svaras (notes) and 22 śrutis (intervals ? microtones ?) which are said to be the basis of Indian music. Many modern writers in Western as well as the vernacular languages consider that śrutis refer to the microtonal variations in particular notes from one rāga to another. In order to convey the general opinion on the subject of intonation, we quote from Alain Daniélou, a prominent writer on…
The "Objective" and Subjective View in Music Transcription
L thnomusicology could never have grown into an independent science if the gramophone had not been invented (Kunst 1959:12). Prior to the invention of the phonograph, scholars of non-Western music were obliged to transcribe music by ear in the field; the resulting notations, however well-intended, usually fell short in every respect-i.e., both rhythmically and as regards pitch (ibid.). Early scholars often transcribed music during festivals and r…
What Happened to Indian Music Theory? Indo-Occidentalism
Research Article| October 01 2008 What Happened to Indian Music Theory? Indo-Occidentalism? Nazir Ali Jairazbhoy Nazir Ali Jairazbhoy Search for other works by this author on: This Site Google Ethnomusicology (2008) 52 (3): 349–377. https://doi.org/10.2307/20174604 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Nazir Ali Jairazbhoy; What Happened to Indian Music Theory? Indo-Occidentalism?. Ethno…
Svaraprastāra in North Indian classical music
In the Saṅgītaratnākara, a thirteenth-century musical text by Śārṅgadeva, listed under svaraprastāra (lit. extension of notes) is a complete enumeration of all the possible combinations of the 7 notes of the Indian musical scale. This enumeration begins with the single note (ārcika) and is followed by all the possible combinations of two notes (gāthika), three notes (sāmika), four notes (svarāntara), five notes (auḍuva), six notes (ṣāḍava), and s…
Factors Underlying Important Notes in North Indian Music
M usical theory in India stems from the Natyasastra, ascribed to the author Bharata, which is generally dated from the second to the fifth century A.D. Some of the technical terms used in North Indian music today can be traced back to this early source; the terms have, however, often undergone a radical change of meaning over the years. Much of the old terminology is no longer in use and new terms have been added, some of which very nearly duplic…
A Preliminary Survey of the Oboe in India
he oboe2 is widely disseminated throughout India and occurs in many forms, conical or cylindrical, with or without a pirouette, with seven to twelve holes, and with significant variation in size. The variety of contexts in which the instrument is found suggests considerable antiquity for its use. There is, however, a great deal of evidence to support the view that it was introduced into India by the Muslims, probably not much more than six hundre…
Bharata's Concept of Sādhāraṇa
Many of the concepts of Indian music commonly prevalent in Bharata's time, and expressed quite succinctly in his Nāṭyaśāstra, have subsequently been confused by later writers. Even now, several modern writers are still in some doubt as to the nature of the ancient parent scales, the sa-grāma and the sa-grāma. The fundamental difficulty hinges around the location of the svara (note) in relation to its śrutis (component intervals). Contrary to West…
The Story of Indian Music: Its Growth and Synthesis. By O. Goswami. Bombay: Asia Publishing House, 1957. 332. Index. Rs. 14.50
Book Review| May 01 1960 The Story of Indian Music: Its Growth and Synthesis The Story of Indian Music: Its Growth and Synthesis. By O. Goswami. Bombay: Asia Publishing House, 1957. 332. Index. Rs. 14.50. N. A. Jairazbhoy N. A. Jairazbhoy School of Oriental and African Studies, University of London Search for other works by this author on: This Site Google Journal of Asian Studies (1960) 19 (3): 377–378. https://doi.org/10.2307/2943536 Views Icon…
Svaraprastāra in North Indian classical music
In the Saṅgītaratnākara, a thirteenth-century musical text by Śārṅgadeva, listed under svaraprastāra (lit. extension of notes) is a complete enumeration of all the possible combinations of the 7 notes of the Indian musical scale. This enumeration begins with the single note (ārcika) and is followed by all the possible combinations of two notes (gāthika), three notes (sāmika), four notes (svarāntara), five notes (auḍuva), six notes (ṣāḍava), and s…
Intonation in present-day North Indian classical music
Most Sanskrit texts dealing with Indian music refer to 7 svaras (notes) and 22 śrutis (intervals ? microtones ?) which are said to be the basis of Indian music. Many modern writers in Western as well as the vernacular languages consider that śrutis refer to the microtonal variations in particular notes from one rāga to another. In order to convey the general opinion on the subject of intonation, we quote from Alain Daniélou, a prominent writer on…
Recent Recordings of Indian Music: A Record Review Essay
A Preliminary Survey of the Oboe in India
he oboe2 is widely disseminated throughout India and occurs in many forms, conical or cylindrical, with or without a pirouette, with seven to twelve holes, and with significant variation in size. The variety of contexts in which the instrument is found suggests considerable antiquity for its use. There is, however, a great deal of evidence to support the view that it was introduced into India by the Muslims, probably not much more than six hundre…
Factors Underlying Important Notes in North Indian Music
M usical theory in India stems from the Natyasastra, ascribed to the author Bharata, which is generally dated from the second to the fifth century A.D. Some of the technical terms used in North Indian music today can be traced back to this early source; the terms have, however, often undergone a radical change of meaning over the years. Much of the old terminology is no longer in use and new terms have been added, some of which very nearly duplic…
Ragas
Dattilam: A Compendium of Ancient Indian Music
The Rags of North Indian Music: Their Structure and Evolution
Studies in Indian Music
The Rags of North Indian Music; Their Structure and Evolution
An Interpretation of the 22 Srutis
Sangeet Kala Vihar
The Music and Musical Instruments of Southern India and the Deccan
Music in Western Rajasthan: Stability and Change
Ethnologists now generally accept the idea that all cultures are dynamic and ever changing (Berreman, 1968:338). It is clear, however, that the rate of change varies not only from one culture to the next, but also with respect to the different elements within that culture. In some ways, a society is rather like an octopus with its tentacles periodically stretching in different directions—each motion causing at least a slight change in the alignme…
Electronic Aids to Aural Transcription
n view of the continuing importance of aural transcription in ethnomusicology, it is surprising that so little effort seems to have been expended in simplifying even the mechanical operational problems of electronic equipment involved in the process of transcription. The greatest difficulty in producing a reasonably accurate transcription is due to the transient nature of music. A complex musical passage needs to be heard many times and often nec…
The "Objective" and Subjective View in Music Transcription
L thnomusicology could never have grown into an independent science if the gramophone had not been invented (Kunst 1959:12). Prior to the invention of the phonograph, scholars of non-Western music were obliged to transcribe music by ear in the field; the resulting notations, however well-intended, usually fell short in every respect-i.e., both rhythmically and as regards pitch (ibid.). Early scholars often transcribed music during festivals and r…
Musical Instruments in Indian Sculpture
The South Asian Double-Reed Aerophone Reconsidered
Since the publication of my A Preliminary Survey of the Oboe in (1970), an article that was largely based on a paper read at the Royal Anthropological Institute symposium in London (Music and History, 196%2), there has been a direct response from B. C. Deva, The Double-Reed Aerophone in (1976), and other informative publications such as T. S. Parthasarathy's Nagasvaramthe South Indian Shahnai (1973). Debate being one of the most important aspects…
Rajasthan: Les Musiciens Du Desert
Essays in Honor of Peter Crossley-Holland on His Sixty-Fifth Birthday
Laxmi G. Tewari: Master Indian Vocalist
Field Manual for Ethnomusicology
A Musical Journey Through India
Art (20 works) · History (18 works) · Diverse Musicological Studies (17 works) · Musicology and Musical Analysis (15 works) · Computer Science (13 works) · Visual arts (11 works) · Literature (9 works) · Musical (9 works) · Geography (7 works) · Music History and Culture (7 works)