Abstract
This article investigates the parallels between two regional examples of north Indian music that strictly do not fall within the classical Hindustani music tradition: Punjabi Sikh sacred music (kirtan) and Bengali Rabindra Sangit. On the whole, it examines how these two musical genres were institutionalized and canonized as extreme examples of imperial knowledge formation, respectively, along the lines of traditional and modernist music making. While the invented tradition of Rabindra Sangit became a crucial identity marker for Bengalis after the death of its composer, Rabindranath Tagore, kirtan of course lies at the heart of the Sikh tradition. The article particularly highlights the inherent intellectual, moral and aesthetic tensions between the musical practices defined by the orthodox and the ever-changing lived musical experiences of Sikhs and Bengalis over time. Some of its main issues concern authenticity and spirituality in music as well as the relationships between music and words.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
