Singing classical voicing modern (16 Ergebnisse)

Paperback. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Paperback. Zustand: Very Good. Illustrated. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Hardcover. Zustand: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Soft cover. Zustand: Fine. Contents Introduction. 1. Gone native travels of the violin the South India. 2. From the palace to the street staging classical music. 3. Gender and the politics of voice. 4. Can the subaltern sing music language and the politics of voice. 5. A writing lesson musicology and the birth of the composer. 6. Fantastic fidelities. Afterword modernity and the voice. Notes. Works cited. Index. While Karnatic music a form of Indian music based on the melodic principles of raga and time cycles called tala is known today as South India's classical music its status as classical is an early twentieth century construct one that emerged in the crucible of colonial modernity nationalist ideology and South Asian regional politics. As Amanda J. Weidman demonstrates in order for Karnatic music to be considered classical music it needed to be modeled on western classical music with its system of notation composers compositions conservatories and concerts. At the same time it needed to remain distinctively Indian. Weidman argues that the contradictory imperatives led to the emergence of a particular politics of voice in which the voice came to stand for authenticity and Indianness. Combining ethnographic observation derived from her experience as a student and performer of South Indian music with close readings of archival materials Weidman traces the emergence of this politics of voice through compelling analyses of the relationship between vocal sound and instrumental imitation conventions of performance and staging the status of women as performers debates about language and music and the relationship between oral tradition and technologies of printing and sound reproduction. Through her sustained exploration of the way voice is elaborated as a trope of modern subjectivity national identity and cultural authenticity Weidman provides a model for thinking about the voice in anthropological and historical terms. In so doing she shows that modernity is characterized as much by particular ideas about orality aurality and the voice as it is by regimes of visuality. 350 pp.…

Zustand: Good. Paperback, 8vo.

Zustand: New. pp. 368 34 Illus.

Paperback. Zustand: Brand New. new title edition. 349 pages. 8.75x6.00x1.00 inches. In Stock.

Zustand: New. Reveals how Karnatic music emerged as India s classical music through a particular politics of voice that developed in the crucible of colonial modernity, nationalist ideology, and South Indian regional politics.&Uumlber den Autor.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Taschenbuch. Zustand: Neu. Neuware - While Karnatic music, a form of Indian music based on the melodic principle of raga and time cycles called tala, is known today as South India's classical music, its status as "classical" is an early-twentieth-century construct, one that emerged in the crucible of colonial modernity, nationalist ideology, and South Indian regional politics. As Amanda J. Weidman demonstrates, in order for Karnatic music to be considered classical music, it needed to be modeled on Western classical music, with its system of notation, composers, compositions, conservatories, and concerts. At the same time, it needed to remain distinctively Indian. Weidman argues that these contradictory imperatives led to the emergence of a particular "politics of voice," in which the voice came to stand for authenticity and Indianness.Combining ethnographic observation derived from her experience as a student and performer of South Indian music with close readings of archival materials, Weidman traces the emergence of this politics of voice through compelling analyses of the relationship between vocal sound and instrumental imitation, conventions of performance and staging, the status of women as performers, debates about language and music, and the relationship between oral tradition and technologies of printing and sound reproduction. Through her sustained exploration of the way "voice" is elaborated as a trope of modern subjectivity, national identity, and cultural authenticity, Weidman provides a model for thinking about the voice in anthropological and historical terms. In so doing, she shows that modernity is characterized as much by particular ideas about orality, aurality, and the voice as it is by regimes of visuality.…

Zustand: New. In English.

Gebunden. Zustand: New. Reveals how Karnatic music emerged as India s classical music through a particular politics of voice that developed in the crucible of colonial modernity, nationalist ideology, and South Indian regional politics.&Uumlber den Autor.

Hardcover. Zustand: Brand New. 349 pages. 9.50x6.50x1.25 inches. In Stock.

Buch. Zustand: Neu. Neuware - While Karnatic music, a form of Indian music based on the melodic principle of raga and time cycles called tala, is known today as South India's classical music, its status as "classical" is an early-twentieth-century construct, one that emerged in the crucible of colonial modernity, nationalist ideology, and South Indian regional politics. As Amanda J. Weidman demonstrates, in order for Karnatic music to be considered classical music, it needed to be modeled on Western classical music, with its system of notation, composers, compositions, conservatories, and concerts. At the same time, it needed to remain distinctively Indian. Weidman argues that these contradictory imperatives led to the emergence of a particular "politics of voice," in which the voice came to stand for authenticity and Indianness.Combining ethnographic observation derived from her experience as a student and performer of South Indian music with close readings of archival materials, Weidman traces the emergence of this politics of voice through compelling analyses of the relationship between vocal sound and instrumental imitation, conventions of performance and staging, the status of women as performers, debates about language and music, and the relationship between oral tradition and technologies of printing and sound reproduction. Through her sustained exploration of the way "voice" is elaborated as a trope of modern subjectivity, national identity, and cultural authenticity, Weidman provides a model for thinking about the voice in anthropological and historical terms. In so doing, she shows that modernity is characterized as much by particular ideas about orality, aurality, and the voice as it is by regimes of visuality.…

Zustand: New. 2006. hardcover. . . . . . Books ship from the US and Ireland.

Softcover. Zustand: gut. 2006. Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India In englischer Sprache. pages.