Can the subaltern sing? Music, language, and the politics of voice in early twentieth-century south India
Identifieur interne : 000A28 ( Main/Exploration ); précédent : 000A27; suivant : 000A29Can the subaltern sing? Music, language, and the politics of voice in early twentieth-century south India
Auteurs : Amanda WeidmanSource :
- The Indian Economic and Social History Review [ 0093-6502 ] ; 2005-12.
English descriptors
- Teeft :
- Amanda, Amanda weidman, Annamalai, Bharatiyar, Brahmin, Chettiar, Chidambaranatha mudaliar, Classical language, Classical music, Classical stage, Companion studies, Congress party, Devotional, Devotional music, Dravidian, Dravidian nationalism, Exclusive fields, Hindustani, Ibid, Icai, Itaya, Karnatic, Karnatic music, Language music, Language problem, Madras, Madras music academy, Madurai, Maharajan, Meenakshisundaram, Meenakshisundaram pillai, Mother tamil, Mother tongue, Musical sound, Nadu, Nineteenth century, Olic celvam, Other languages, Particular language, Pillai, Raga, Raja, Ramalingam pillai, Ramanathan chettiar, Ramaswamy, Same time, Sangam, Sangita, Sangita mummanikal, Sangita vishayam, Sanskrit, Shanmugham chettiar, Subaltern, Swaminathayyar, Tamil, Tamil brahmins, Tamil icai, Tamil icai mahanadu cennai nikazhcci maalar, Tamil icai muzhakkam, Tamil isai sangam, Tamil language, Tamil literature, Tamil music, Tamil music movement, Tamil nadu, Tamil renaissance, Tamil revival, Tamil songs, Tamil words, Tamilians, Telugu, Telugu songs, Thyagaraja, Twentieth century, Weidman, Western music.
Abstract
Beginning in the late nineteenth century, ‘music’ and ‘literature’ began to emerge as two separate fields in south India, allowing a new kind of relationship between music and lan-guage to be imagined: one of analogy, rather than direct connection, contiguity, or co-mingling. This culminated in the twentieth-century canonisation of Tamil literature and Karnatic classical music as categories mutually opposed in their orientation to the ‘mother tongue’. Such shifts enabled the emergence, in the 1930s and 1940s, of new discourses on music and language in the context of the Tamil Icai [music] movement.
Url:
DOI: 10.1177/001946460504200404
Affiliations:
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