In 1902 The Gramophone Company in London sent out recording experts on "expeditions" across the world to record voices from different cultures and backgrounds. All over India, it was women who embraced the challenge of overcoming numerous social taboos and aesthetic handicaps that came along with this nascent technology. Women who took the plunge and recorded largely belonged to the courtesan community, called tawaifs and devadasis, in North and South India, respectively. Recording brought with it great fame, brand recognition, freedom from exploitative patrons, and monetary benefits to the women singers. They were to become pioneers of the music industry in the Indian sub-continent. However, despite the pioneering role played by these women, their stories have largely been forgotten. Contemporaneous with the courtesan women adapting to recording technology was the anti-nautch campaign that sought to abolish these women from the performing space and brand them as common prostitutes. A vigorous renaissance and arts revival movement followed, leading to the creation of a new classical paradigm in both North Indian (Hindustani) and South Indian (Carnatic) classical music. This resulted in the standardization, universalization, and institutionalization of Indian classical music. This newly created classical paradigm impacted future recordings of The Gramophone Company in terms of a shift in genres and styles. Vikram Sampath sheds light on the role and impact of The Gramophone Company’s early recording expeditions on Indian classical music by examining the phenomenon through a sociocultural, historical and musical lens. The book features the indefatigable stories of the women and their experiences in adapting to recording technology. The artists from across India featured are: Gauhar Jaan of Calcutta, Janki Bai of Allahabad, Zohra Bai of Agra, Malka Jaan of Agra, Salem Godavari, Bangalore Nagarathnamma, Coimbatore Thayi, Dhanakoti of Kanchipuram, Bai Sundarabai of Pune, and Husna Jaan of Banaras.

Biography of Gauhar Jan, 1870-1930, Indian musician

The Indian Listener (fortnightly programme journal of AIR in English) published by The Indian State Broadcasting Service,Bombay ,started on 22 December, 1935 and was the successor to the Indian Radio Times in english, which was published beginning in July 16 of 1927. From 22 August ,1937 onwards, it was published by All India Radio,New Delhi.From July 3 ,1949,it was turned into a weekly journal. Later,The Indian listener became "Akashvani" in January 5, 1958. It was made a fortnightly again on July 1,1983. It used to serve the listener as a bradshaw of broadcasting ,and give listener the useful information in an interesting manner about programmes,who writes them,take part in them and produce them along with photographs of performing artists. It also contains the information of major changes in the policy and service of the organisation. NAME OF THE JOURNAL: The Indian Listener LANGUAGE OF THE JOURNAL: English DATE,MONTH & YEAR OF PUBLICATION: 30-09-1951 PERIODICITY OF THE JOURNAL: Weekly NUMBER OF PAGES: 44 VOLUME NUMBER: Vol. XVI. No. 40. BROADCAST PROGRAMME SCHEDULE PUBLISHED(PAGE NOS): 12-39 ARTICLE: 1. Shortwave Transmissions: Listening Conditions in October 2. The Historian's Task 3. Is Progress Only Material? AUTHOR: 1. R.B.L. Srivastava 2. C. S. Srinivasachari 3. G. L. Mehta KEYWORDS: 1. transmissions, listeners, Western stations 2. History, Lord Acton, historiography 3. democracy, scientific, Satya Yug Document ID: INL-1951 (J-D) Vol-II (14)

How do we develop social inclusion through musical activities? What is the power of music in enhancing individual inclusion, group cohesion, and cross-community work in post-conflict environments? How can we investigate social music programmes and interventions? This comprehensive volume offers new research on these questions by an international team of experts from the fields of music education, music psychology, ethnomusicology, and community music. The book celebrates the rich diversity of ways in which learners of all ages participate in social music projects in complex settings. Contributions focus broadly on musical and social processes, considering its conceptualisation and practices in a number of contexts. The authors examine how social music projects can be fostered in complex settings, drawing examples from schools and community settings. These critical chapters will inspire readers to think deeply about social music interventions and their development. The book will be of crucial interest to educators, policymakers, researchers, and students, as it draws on applied research from across 14 countries, of which ten are in the Global South.

Drawing on perspectives from music psychology, cognitive neuroscience, philosophy, musicology, clinical psychology, and music education, Music and Mental Imagery provides a critical overview of cutting-edge research on the various types of mental imagery associated with music. The four main parts cover an introduction to the different types of mental imagery associated with music such as auditory/musical, visual, kinaesthetic, and multimodal mental imagery; a critical assessment of established and novel ways to measure mental imagery in various musical contexts; coverage of different states of consciousness, all of which are relevant for, and often associated with, mental imagery in music, and a critical overview of applications of mental imagery in health, educational, and performance settings. By both critically reviewing up-to-date scientific research and offering new empirical results, this book provides a unique overview of the different types and origins of mental imagery in musical contexts, various ways to measure them, and intriguing insights into related mental phenomena such as mind-wandering and synaesthesia. This will be of particular interest for scholars and researchers of music psychology and music education. It will also be useful for practitioners working with music in applied health and educational contexts.

‘This is an extraordinary achievement and it will become an absolutely vital and trusted resource for everyone working in the field of popular music studies. Even more broadly, anyone interested in popular music or popular music culture more generally will enjoy - and find many uses for - the wealth of information and insight captured in this volume.' Lawrence Grossberg, Morris Davis Professor of Communication Studies and Cultural Studies, University of North Carolina at Chapel Hill The first comprehensive reference work on popular music of the world Contributors are the world's leading popular music scholars Includes extensive bibliographies, discographies, sheet music listings and filmographies. Popular music has been a major force in the world since the nineteenth century. With the advent of electronic and advanced technology it has become ubiquitous. This is the first volume in a series of encyclopedic works covering popular music of the world. Consisting of some 500 entries by 130 contributors from around the world. Entries range between 250 and 5000 words, and is arranged in two Parts: Part 1: Social and Cultural Dimensions, covering the social phenomena of relevance to the practice of popular music. Part II: The Industry, covers all aspects of the popular music industry, such as copyright, instrumental manufacture, management and marketing, record corporations, studios, companies, and labels. Entries include bibliographies, discographies and filmographies, and an extensive index is provided. For more information visit the website at: www.continuumpopmusic.com

"Akashvani" (English) is a programme journal of ALL INDIA RADIO, it was formerly known as The Indian Listener. It used to serve the listener as a bradshaw of broadcasting ,and give listener the useful information in an interesting manner about programmes, who writes them, take part in them and produce them along with photographs of performing artists. It also contains the information of major changes in the policy and service of the organisation. The Indian Listener (fortnightly programme journal of AIR in English) published by The Indian State Broadcasting Service, Bombay, started on 22 December, 1935 and was the successor to the Indian Radio Times in English, which was published beginning in July 16 of 1927. From 22 August ,1937 onwards, it used to published by All India Radio, New Delhi. From 1950,it was turned into a weekly journal. Later, The Indian listener became "Akashvani" (English ) w.e.f. January 5, 1958. It was made fortnightly journal again w.e.f July 1,1983. NAME OF THE JOURNAL: AKASHVANI LANGUAGE OF THE JOURNAL: English DATE, MONTH & YEAR OF PUBLICATION: 9 SEPTEMBER, 1962 PERIODICITY OF THE JOURNAL: Weekly NUMBER OF PAGES: 64 VOLUME NUMBER: Vol. XXVII. No. 36 BROADCAST PROGRAMME SCHEDULE PUBLISHED (PAGE NOS): 5-62 ARTICLE: 1. Political Oneness 2. India’s Population Problem 3. The Philosophy of Vedanta 4. Sherlock Homes 5. National Savings AUTHOR: 1. Sardar K. M. Pannikar 2. Dr. S. Chandrasekhar 3. K. M. Munshi 4. Sir Paul Gore Booth 5. Smt. Tarakeshwari Sinha KEYWORDS : 1. Shadow heritage of Shahalam,attempt at political unification during Moghuls,factors leading to political unification during the 19th century 2. Uniform system of education growth o f a national image,feeling of Indian political unity effect of Non - Violent mass movement Document ID : APE-1962 (S-O) Vol-IV-02 Prasar Bharati Archives has the copyright in all matters published in this “AKASHVANI” and other AIR journals. For reproduction previous permission is essential.