Abstract
This article brings together investigation of gesture and imagery in the study of North Indian classical music, focusing on a particular rāg—Śrī rāg—in detail. The research, based on extensive ethnography and analysis of audiovisual recordings, reveals how the embodiment of sound as patterns of movement is a key to understanding how musicians associate particular images and emotions with rāgs, and at the same time how such processes of signification are intertwined with culturally embedded meanings.
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