Hostname: page-component-78c5997874-t5tsf Total loading time: 0 Render date: 2024-11-04T19:48:03.720Z Has data issue: false hasContentIssue false

Styles of the Śahnāí in Recent Decades: From Naubat to Gā Yakī Ang

Published online by Cambridge University Press:  07 March 2019

Extract

The aim of this paper is to establish a frame of reference for a comprehensive study of the Hindustāni śahnāī during the twentieth century. The Hindustāni śahnāī, a type of double-reed aerophone, consists of a relatively small double reed of cane, as distinct from other double reeds in India made from palm leaf (Flora 1986), attached by a small conical metal tube to a wooden pipe of conical bore with seven fingerholes, no thumbhole, and an attached metal bell (Flora 1992). The author's instrument, from the tip of the reed to the end of the metal bell, varies from approximately 50 cm to 51 cm, depending on the particular reed and metal tube used. Playing in tune with a good reed is more important than maintaining a consistent length for the instrument.

Type
Articles
Copyright
Copyright © 1995 by the International Council for Traditional Music

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

1.

For valuable sources on this issue, see Faruqi 1981:234–35 (nawbah), King 1984, King and Gourlay 1984, Tingey 1994: 19-23, and Trewin 1995. I am grateful to Mr. Peter Micic for calling my attention to the recently published article by Trewin.

References

References Cited

The abbreviation NGDMI indicates The New Grove Dictionary of Musical Instruments, 3 vols., Sadie, Stanley, ed., London: Macmillan Press Ltd., 1984.Google Scholar
‘Allāmī, Abu'l-Fazl [ca 1590]/1965 Ā ‘īn-i Akbari [Vol. I], trans. into English by H. Blochmann, ed. Goomer, S.L. Delhi: Aadiesh Book Depot.Google Scholar
Baily, John 1980 ‘A Description of the Naqqarakhana of Herat, Afghanistan.’ Asian Music 11(2): 110.CrossRefGoogle Scholar
Baily, John and Dick, Alastair 1984 ‘Naqqārakhāna.’ In NGDMI 2:748–49.Google Scholar
Bevan, Clifford 1984 ‘Band’ (I-IV). In NGDMI 1:120–43.Google Scholar
Carson, Nelly 1975 ‘The Ta'zieh, the Sacred Theatre of Iran.’ The World of Music 20(4):310.Google Scholar
Deva, B. Chaitanya 1976 ‘The Double-reed Aerophone in India.’ Yearbook of the International Folk Music Council 7:7784.Google Scholar
Dick, Alastair 1984a ‘Duggī.’ In NGDMI 1:617–18.Google Scholar
Dick, Alastair 1984b ‘Dukkaŗ.’ in NGDMI 1:618.Google Scholar
Dick, Alastair 1984c ‘The Earlier History of the Shawm in India.’ Galpin Society Journal 37:8098.Google Scholar
Dick, Alastair and Babiracki, Carol M. 1984 ‘Nagārā.’ In NGDMI 2:739–41.Google Scholar
Dobbs, Dobbs Jack Percival and Kartomi, Margaret J. 1984 ‘Nobat.’ In NGDMI 2:771–72.Google Scholar
Farmer, Henry George 1929 A History of Arabian Music to the XIIIth Century. London: Luzac and Co. Reprinted 1967.Google Scholar
Farmer, Henry George 1938 ‘Tabl Khāna.’ In The Encyclopaedia of Islam. Supplement, ed. Houtsma, M.T., Wensinck, A.J., Gibb, H.A.R., Heffening, W. and Lévi-Provençal, E., 217–22. Leiden: E.J. Brill.Google Scholar
Farmer, Henry George 1966 Islam. Leipzig: Deutscher Verlag für Musik. Musikgeschichte in Bildern, Band III, Lieferung 2, ed. H. Bessler and M. Schneider.Google Scholar
al Faruqi, Lois Ibsen, comp. 1981 An Annotated Glossary of Arabic Musical Terms. Westport (Connecticut) and London: Greenwood Press.Google Scholar
Flora, Reis 1986 “Spiralled-leaf Reedpipes and Shawms of the Indian Ocean Littoral: Two Related Regional Traditions.’ Musicology Australia 9:3952.CrossRefGoogle Scholar
Flora, Reis 1992 ‘Observations on the Hindustāni śahnāī: Its Structure and Performance Techniques.’ In Von der Vielfalt Musikalischer Kultur: Festschrift für Josef Kuckertz zur Vollendung des 60. Lebensjahres, ed. Rüdiger Schumacher. Anif/Salzburg: Verlag Ursula Müller-Speiser. Pp. 207–16, Illus. 14.Google Scholar
Fox Strangways, A.H. 1914 The Music of Hindostan. Oxford: The Clarendon Press. Reprinted New Delhi: Oriental Books Reprint Corp., 1965.Google Scholar
Garg, Laxmi Narayan 1969 Hamāre Sangīt Ratna, Second Edition. Hathras: Sangeet Karyalaya.Google Scholar
Jairazbhoy, Nazir Ali 1970 ‘A Preliminary Survey of the Oboe in India.’ Ethnomusicology 14(3):375–88.Google Scholar
Jairazbhoy, Nazir Ali 1980 ‘The South Asian Double-reed Aerophone Reconsidered.’ Ethnomusicology 24(1): 147–56.Google Scholar
Kaufmann, Walter 1978 Südasien: Die indische Musik und ihre Traditionen. Leipzig: VEB Deutscher Verlag für Musik. Musikgeschichte in Bildern, Band I, Lieferung 4, ed. Werner Bachmann.Google Scholar
King, Anthony 1984 ‘Kakaki.’ In NGDMI 2:346–48.Google Scholar
King, Anthony and Gourlay, K.A. 1984 ‘Algaita.’ In NGDMI 1:44.Google Scholar
Kinnear, Michael S., comp. 1985 A Discography of Hindustani and Karnatic Music. Westport (Connecticut) and London: Greenwood Press.Google Scholar
Kishibe, Shigeo 1982 The Traditional Music of Japan, Second edition. Tokyo: The Japan Foundation.Google Scholar
Kothari, K[eshav] S. 1968 Indian Folk Musical Instruments. New Delhi: Sangeet Natak Akademi.Google Scholar
Manuel, Peter 1989 Thumri in Historical and Stylistic Perspectives. Delhi: Motilal Banarsidass.Google Scholar
Parthasarathy, T.S. 1973 ‘Nagasvaram — The South Indian Shehnai.’ In a commemoration publication for a festival of music and dance at Patna.Google Scholar
Reinhard, Kurt 1980 ‘Janissary Music’ ('Turkey', section 3). In The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 19: 271–73. London: Macmillan Press Ltd.Google Scholar
Sanal, H. 1964 Mehter musikisi. Istanbul.Google Scholar
Akademi, Sangeet Natak 1984 Who's Who of Indian Musicians, Second edition. New Delhi: Sangeet Natak Akademi.Google Scholar
Akademi, Sangeet Natak 1989 Akademi Awards 1989. New Delhi: Sangeet Natak Akademi.Google Scholar
Skelton, William 1971 ‘The Nagaswaram and the South Indian Hindu Festival.’ Asian Music 2(1): 1824.CrossRefGoogle Scholar
Srivastava, Indurama 1980 Dhrupada: A Study of its Origins, Historical Development, Structure and Present State. Delhi: Motilal Banarsidass.Google Scholar
Stewart, Rebecca Marie 1974 The Tabla in Perspective. Ph.D. diss., University of California, Los Angeles. Ann Arbor: University Microfilms, 74–12, 474.Google Scholar
Sykes, P. Molesworth 1909 ‘Notes on Musical Instruments in Khorasan, with Special Reference to Gypsies.’ Man 9(94): 161–64.Google Scholar
Terada, Yoshitaka 1992 Multiple Interpretations of a Charismatic Individual: The Case of the Great Nagasvaram Musician, T.N. Rajarattinam Pillai. Ph.D., diss., University of Washington. Ann Arbor: University Microfilms, 9239506.Google Scholar
Tingey, Carol 1994 Auspicious Music in a Changing Society: The Damāi Musicians of Nepal. University of London, School of Oriental and African Studies, Musicology Series, Vol. 2.Google Scholar
Trewin, A. Mark 1995 ‘On the History and Origin of “Gar”, the Court Ceremonial Music of Tibet.’ Journal of the European Foundation for Chinese Music Research (Chime Journal) 8:431, Spring.Google Scholar
Wade, Bonnie C. 1984 Khyāl: Creativity within North India's classical music tradition. Cambridge University Press.Google Scholar
Wade, Bonnie C. 1986 ‘Playing for Power: Drum and Naubat, the Symbols of Might.’ In La musique et le rite sacre et profane, Vol. 1 (Tables rondes, presented and convened by Marc Honegger and Christian Meyer), 28-32. Université de Strasbourg, Actes du XIIIe Congrès de la Société internationale de musicologie.Google Scholar