ISSN (Print) - 0012-9976 | ISSN (Online) - 2349-8846

Lakshmi SubramanianSubscribe to Lakshmi Subramanian

Roads Are Like Families

Memoirs of Roads: Calcutta from Colonial Urbanization to Global Modernization by Sumanta Banerjee, New Delhi: Oxford University Press, 2016; pp 175, ₹ 750.

Crimes in Economics in Prose and Verse

Economic Offences: A Compendium of Crimes in Prose and Verse by S Subramanian (New Delhi: OUP), 2013; pp 159, Rs 495.

Music and Society in North India: From the Mughals to the Mutiny

The period from early 18th century leading up to the Mutiny of 1857 witnessed massive political and socio-cultural turmoil which impacted the evolution of musical culture as well. This paper synthesises existing historical work on the complex evolution of musical culture in northern India during the period, focusing on the origins and development of those forms that became identified as mainstream classical Hindustani music in the 20th century.

Faith and the Musician

The evolution of Hindustani classical music has consciously taken a trajectory that mirrors the nationalist project. In this experiment of defining a national music that is ostensibly secular, the position of the 'ustads' has always been attended by difficulty. Their image and musical practices have in turn popularised the secular, syncretic notion that Hindustani music has come to acquire. But in their history and that of the 'gharanas' they represent also lies the complex history of changing and evolving musical traditions, derived from and inspired by existing strands of music, traditional and adapted, and which also reflect the shifting political contours of the times.

Trade and Empire Building

Trade and Empire Building The Business of Empire: The East India Company and Imperial Britain, 1756-1833 by H V Bowen; Cambridge University Press, 2006; pp 304,

Musical Aesthetics

From a "marginal" performer, a role the accompanist was reduced to as debates on musical norms and aesthetics raged in early 20th century south India, he now performs solo and is even a "star" performer in his own right, thanks to the democratisation of musical performance and the demands of a growing global audience.

The Voice in Colonial and Post-Colonial India

outrage there is I think an important conceptual issue that needs to be fleshed out. Can The Voice in Colonial one find multiple meanings in the term
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