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100%: Amanda J. Weidman: Singing the Classical, Voicing the Modern" The Postcolonial Politics of Music in South India (ISBN: 9788170463191) Erstausgabe, in Englisch, Taschenbuch.Nur diese Ausgabe anzeigen…
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93%: Amanda J. Weidman: Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India (ISBN: 9780822336204) Duke University Press Books, in Englisch, Taschenbuch.Nur diese Ausgabe anzeigen…
Singing the Classical, Voicing the Modern" The Postcolonial Politics of Music in South India
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Bester Preis: Fr. 7.81 (€ 7.99)¹ (vom 06.03.2017)1
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Singing the Classical Voicing the Modern: The Postcolonial Politics of Music in South India (2007)
EN PB NWISBN: 9788170463191 bzw. 817046319X, in Englisch, Seagull Books, Taschenbuch, neu.
Lieferung aus: Indien, शिपिंग लागत के लिए: IND.
Von Händler/Antiquariat, A - Z Books.
Seagull Books, 2007. First edition. Softcover. New. 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 cosntruct, 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. Printed Pages: 368.
Von Händler/Antiquariat, A - Z Books.
Seagull Books, 2007. First edition. Softcover. New. 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 cosntruct, 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. Printed Pages: 368.
2
Singing the Classical, Voicing the Modern, The Postcolonial Politics of Music in South India (2006)
EN NW EBISBN: 9780822388050 bzw. 0822388057, in Englisch, Duke University Press Books, neu, E-Book.
Lieferung aus: Niederlande, Direct beschikbaar.
bol.com.
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... 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. Productinformatie:Taal: Engels;Formaat: ePub met kopieerbeveiliging (DRM) van Adobe;Kopieerrechten: Het kopiëren van (delen van) de pagina's is niet toegestaan ;Geschikt voor: Alle e-readers te koop bij bol.com (of compatible met Adobe DRM). Telefoons/tablets met Google Android (1.6 of hoger) voorzien van bol.com boekenbol app. PC en Mac met Adobe reader software;ISBN10: 0822388057;ISBN13: 9780822388050; Engels | Ebook | 2006.
bol.com.
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... 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. Productinformatie:Taal: Engels;Formaat: ePub met kopieerbeveiliging (DRM) van Adobe;Kopieerrechten: Het kopiëren van (delen van) de pagina's is niet toegestaan ;Geschikt voor: Alle e-readers te koop bij bol.com (of compatible met Adobe DRM). Telefoons/tablets met Google Android (1.6 of hoger) voorzien van bol.com boekenbol app. PC en Mac met Adobe reader software;ISBN10: 0822388057;ISBN13: 9780822388050; Engels | Ebook | 2006.
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Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India (2006)
EN HC USISBN: 9780822336310 bzw. 0822336316, in Englisch, Duke University Press Books, gebundenes Buch, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, Versandkosten nach: USA.
Von Händler/Antiquariat, Powell's Bookstores Chicago.
Duke University Press Books. Used - Like New. 2006. Hardcover. Cloth. 8vo. 349 pp. Fine. No Dust Jacket.
Von Händler/Antiquariat, Powell's Bookstores Chicago.
Duke University Press Books. Used - Like New. 2006. Hardcover. Cloth. 8vo. 349 pp. Fine. No Dust Jacket.
4
Singing the Classical Voicing the Modern: The Postcolonial Politics of Music in South India (2007)
EN PB NW FEISBN: 9788170463191 bzw. 817046319X, in Englisch, Seagull Books, Taschenbuch, neu, Erstausgabe.
Von Händler/Antiquariat, BookVistas [54483961], New Delhi, DELHI, India.
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 cosntruct, 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. Printed Pages: 368.
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 cosntruct, 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. Printed Pages: 368.
5
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Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India (2006)
EN HCISBN: 9780822336310 bzw. 0822336316, in Englisch, Duke University Press Books, gebundenes Buch.
Lieferung aus: Vereinigte Staaten von Amerika, Versandkosten nach: USA.
Von Händler/Antiquariat, Ergodebooks.
Duke University Press Books, 2006-07-18. Hardcover. Used:Good. Buy with confidence. Excellent Customer Service & Return policy. Ships Fast. 24*7 Customer Service.
Von Händler/Antiquariat, Ergodebooks.
Duke University Press Books, 2006-07-18. Hardcover. Used:Good. Buy with confidence. Excellent Customer Service & Return policy. Ships Fast. 24*7 Customer Service.
6
Symbolbild
Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India (2006)
EN HC USISBN: 9780822336310 bzw. 0822336316, in Englisch, Duke University Press Books, gebundenes Buch, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, Versandkosten nach: USA.
Von Händler/Antiquariat, Ergodebooks.
Duke University Press Books, 2006-06-27. Hardcover. Good. Buy with confidence. Excellent Customer Service & Return policy. Ships Fast. 24*7 Customer Service.
Von Händler/Antiquariat, Ergodebooks.
Duke University Press Books, 2006-06-27. Hardcover. Good. Buy with confidence. Excellent Customer Service & Return policy. Ships Fast. 24*7 Customer Service.
7
Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India (2006)
EN PB NWISBN: 9788170463191 bzw. 817046319X, in Englisch, 368 Seiten, Duke University Press, Taschenbuch, neu.
Lieferung aus: Indien, Usually dispatched within 2-3 business days.
Von Händler/Antiquariat, Bookswagon.
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. Paperback, संस्करण: Edition, स्वरूप: Import, लेबल: Duke University Press, Duke University Press, उत्पाद समूह: Book, प्रकाशित: 2006-07-18, स्टूडियो: Duke University Press, बिक्री रैंक: 219956.
Von Händler/Antiquariat, Bookswagon.
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. Paperback, संस्करण: Edition, स्वरूप: Import, लेबल: Duke University Press, Duke University Press, उत्पाद समूह: Book, प्रकाशित: 2006-07-18, स्टूडियो: Duke University Press, बिक्री रैंक: 219956.
8
Singing the Classical, Voicing the Modern (2006)
EN NW EB DLISBN: 9780822388050 bzw. 0822388057, in Englisch, Duke University Press Books, Duke University Press Books, Duke University Press Books, neu, E-Book, elektronischer Download.
Lieferung aus: Frankreich, in-stock.
Die Beschreibung dieses Angebotes ist von geringer Qualität oder in einer Fremdsprache. Trotzdem anzeigen
Die Beschreibung dieses Angebotes ist von geringer Qualität oder in einer Fremdsprache. Trotzdem anzeigen
9
Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India (2006)
EN HC USISBN: 9780822336310 bzw. 0822336316, in Englisch, 368 Seiten, Duke University Press Books, gebundenes Buch, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 1-2 business days.
Von Händler/Antiquariat, powells_chicago.
Die Beschreibung dieses Angebotes ist von geringer Qualität oder in einer Fremdsprache. Trotzdem anzeigen
Von Händler/Antiquariat, powells_chicago.
Die Beschreibung dieses Angebotes ist von geringer Qualität oder in einer Fremdsprache. Trotzdem anzeigen
10
Symbolbild
Singing the Classical, Voicing the Modern: the Postcolonial Politics of Music in South India (2006)
EN HC USISBN: 9780822336310 bzw. 0822336316, in Englisch, Duke University Press, gebundenes Buch, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, zzgl. Versandkosten, Verandgebiet: DOM.
Von Händler/Antiquariat, Powell's Bookstores, Chicago, IL, Chicago, [RE:5].
Hard cover.
Von Händler/Antiquariat, Powell's Bookstores, Chicago, IL, Chicago, [RE:5].
Hard cover.
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