Mohandas Gandhi was no musician. Subramanian herself acknowledges (p. 188) he was ‘neither a patron nor a connoisseur of music’, and that he was attracted to it solely for its ‘power as a medium of affect’. His engagement with music was correspondingly restricted to employing its powers of affect for his larger political and social…
These essays serve an important purpose in setting the stage for the next section, ‘New Musical Publics and the Formation of Taste’ which deals with the unfolding of the complex question of aesthetic pleasure and the creation of different public spheres around the problem of taste. Although the players and the narratives within which they operate are different, these two essays offer a key turning point in the book where we encounter the ‘surpluses’ of publicness in all its complexity.
Damodaran, much to the relief of the reader immediately reduces scope. And what is lost in ambition is gained in clarity. She talks of Jatts becoming Zotts in Iran and how they would influence the Luri. She talks of the Haul, Qual and Maqam systems.
Kumar’s commentary on Pandit Kumar Gandharva is particularly noteworthy. He observes that while reinventing Kabir, Kumarji was simultaneously reinventing himself, envisioning an artist, a thinker, and a rebel within. Kuldeep Kumar highlights Kumarji’s departure from blind adherence to gharanas, quoting Pandit BR Deodhar, Kumarji’s guru
In the first phase, the author foregrounds the role of two books: Sangita Taranga (1818) by Radhamohan Sen Das and Sangita Rasamadhuri (1844) by Jagannath Prasad Basu Mallik that had set the course of musical scholarship in Bengal for the future authors and scholars. The author shows that while Sangita Taranga was mainly influenced by Indo-Persian musicological texts like Tohfat-ul-Hind (1675), Sangita Rasamadhuri attempted to establish Hindustani musicology preferably in Hindu terms.
Timberg experienced such instability and its impact on creative jobs first hand. Laid off by the Los Angeles Times just before his fortieth birthday, he endured the disintegration of a stable middle-class life, ultimately losing his home and being forced to leave Los Angeles. Scott Timberg died by suicide in 2019 at age fifty.