Music research annual (ISSN 2563-7290) is the first peer-reviewed journal devoted to publishing review essays from the full range of academic disciplines that study music. Each article explores the current state of scholarship on a key topic within a discipline or interdisciplinary juncture and charts ways forward to new research.
Launched in 2020 by Lever Press, Open access musicology is a book series that features peer-reviewed, scholarly essays primarily intended to serve students and teachers of music history, ethno/musicology, and music studies.
The constantly evolving collection ensures that recent research and scholarship inspires classroom practice, provides diverse and methodologically transparent models for student research, and introduces different modes of inquiry to inspire classroom discussion and varied assignments.
Addressing a range of histories, methods, voices, and sounds, OAM embraces changes and tensions in the field to help students understand music scholarship as the product of critical inquiry.
The four all-India music conferences that were organized between 1916 and 1925 by Vishnu Narayan Bhatkhande were seminal events in the formation of a nationally based urban middle class and a predominantly Hindu-oriented music culture that encompassed performers, patrons, and audiences.
The conferences were the first modern gatherings on a national scale to combine discussion and analysis of musical practice and theory with a showcase of musical performance. A close examination of the reports generated by the conferences offers an opportunity to examine the conflicting social and political ideologies that were shaping north Indian classical music over a critical decade, as the aristocratic music of the courts was transformed into a national music.
Bhatkhande believed that music had to be taken over by the Western-educated, nationally conscious middle class, and that the patronage of the wealthy princes formerly given to support their private music establishments should be transferred to national institutions supporting music. Through the medium of the conferences he took the initiative of bringing together these disparate groups: traditional musicians, traditional patrons, and the new, primarily Hindu intelligentsia.
A number of topics recur through all four conferences: discussion of śrutis and rāga variations; a call for adoption of a uniform, systematic notation for Indian music; and a proposal for the creation of a national academy of music. The extent to which agreement and action on these proposals proved elusive can be read as indicating the degree of cross-cultural conflict that underlay the conferences, and gives a sense of the extent to which Bhatkhande’s vision resonated with the broader concerns of his day.
This according to “The All-India Music Conferences of 1916–1925: Cultural transformation and colonial ideology” by David Trasoff, an essay included in Hindustani music: Thirteenth to twentieth centuries (Nai Delli: Manohar, 2010 331–56; RILM Abstracts of Music Literature 2010-15196).
Today is Bhatkhande’s 160th birthday! Below, a documentary on the Music Institute that he established.
Répertoire International de Littérature Musicale (RILM) is excited to announce its collaboration with Smithsonian Music for its 2019 Year of Music. This initiative aims to increase public engagement, advance understanding, and connect communities by highlighting and sharing the Smithsonian’s vast musical holdings. RILM, which documents and disseminates music research worldwide, supports this by drawing on its comprehensive digital resources to create blog posts, right here on Bibliolore, on a selection of the Year of Music’s Objects of the Day. Each post is enhanced with an expertly curated bibliography.
The bibliographic references stem from one of the richest and most exhaustive resources of global music research, RILM Abstracts of Music Literature with Full Text™, which contains over a million bibliographic records from relevant writings on music published from the early 19th century to the present in 178 countries and in 143 languages.
The library of the Institut du Monde Arabe (Arab World Institute) in Paris is home to an extensive collection of writings on music from the Arab world, a region stretching from the Atlas Mountains to the Indian Ocean. This series … Continue reading →
The Filipino ethnomusicologist and composer Jose Maceda created unique works that blended his fieldwork on Filipino and other music with his expertise in European avant-garde traditions. His compositions combined innovative techniques such as spatialization, a focus on timbre, and musique … Continue reading →
The Senegalese singer, songwriter, musician, and politician Youssou N’Dour was born just six months before Senegal achieved independence. His mother hailed from a long line of griots, or gawlo, who served as hereditary musicians and custodians of oral history in … Continue reading →
Ellis Marsalis first learned to play the clarinet and saxophone but the piano later became his main instrument. From 1951 to 1955, he completed a bachelor’s degree in music education at Dillard University in New Orleans while receiving informal jazz … Continue reading →
