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DC poleHodnotaJazyk
dc.contributor.authorPhilips, Anna Amy-
dc.date.accessioned2022-02-04T08:15:57Z-
dc.date.available2022-02-04T08:15:57Z-
dc.date.issued2021-
dc.identifier.citationMusica Paedagogia Pilsnens. 2021, č. 1, s. 73-80.cs
dc.identifier.issn2788-0087 (Print)-
dc.identifier.issn2788-0095 (On-line)-
dc.identifier.urihttp://hdl.handle.net/11025/46737-
dc.identifier.urihttps://old.fpe.zcu.cz/export/sites/fpe/khk/musica-paedagogia/Archiv/01_2021_Musica_Paedagogia_Pilsnensis.pdf-
dc.description.sponsorshipReg. No. MK ČR E 24275en
dc.format8 s.cs
dc.format.mimetypeapplication/pdf-
dc.format.mimetypeapplication/pdf-
dc.language.isoenen
dc.publisherUniversity of West Bohemia in Pilsenen
dc.rightsCreative Commons Attribution-NonCommercial-NoDerivatives 4.0 International Licenceen
dc.subjectindická klasická hudbacs
dc.subjectzápadní klasická hudbacs
dc.subjectBollywoodcs
dc.subjecthybridizacecs
dc.subjectsociokulturní teoriecs
dc.subjectteorie mediálních studiícs
dc.subjectYouTubecs
dc.subjectplatformová společnostcs
dc.subjectdiasporacs
dc.titleEmbracing indian and western classical music in the 21st century: Param Vir and Shankar Tuckeren
dc.typečlánekcs
dc.typearticleen
dc.rights.accessopenAccessen
dc.type.versionpublishedVersionen
dc.description.abstract-translatedThe first (published) mention of Indian classical music in Western discourse takes us to William Jones’ On the Musical Modes of the Hindus (1784), which ignited a scholarly interest for the Orient in the Western world. Since then, over the years, several researchers in music have been swept along and consumed by the currents of lost, found, translated, (mis-)inter - preted, transliterated and transformed literature on Indian classical music 2. This work delves neither into the labyrinth of the allusive character of Raga, nor the theory, transliteration, and treatises on Indian classical music. Instead, with supporting literature from many diligent scholars, it utilises all the extremely elaborate theories and explanations from the past to initiate a different sort of analysis in this field, one that explores musical material directly in compositions which incorporate both Indian and Western music, using socio-cultural, media studies theories and music analysis theories. The primary intent of this work is to comprehend the creation of a cultural third space brought about by the hybridisation of contemporary Western music and Indian classical music, taking two composers as case studies for this purpose: Param Vir and Shankar Tucker. The parameters of this study centre, in Vir’s case, on Indian classical- and 20 th century Western classical music theories; and, in Tucker’s case, the appropriation of Indian music, using contemporary media studies and popular music the- ories of a globalised world. Such an analysis is customised and therefore is to be considered as an observation of the current scenario within these two systems of music, within these parameters.en
dc.subject.translatedIndian classical musicen
dc.subject.translatedwestern classical musicen
dc.subject.translatedBollywood industryen
dc.subject.translatedhybridisationen
dc.subject.translatedsocio-cultural theoriesen
dc.subject.translatedmedia studies theoriesen
dc.subject.translatedYouTubeen
dc.subject.translatedplatform societyen
dc.subject.translateddiasporaen
dc.identifier.doihttps://doi.org/10.24132/ZCU.MUSICA.2021.01.73-80-
Vyskytuje se v kolekcích:Číslo 1 (2021)
Číslo 1 (2021)

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  1. DSpace at University of West Bohemia
  2. Publikace ZČU / UWB Publications
  3. Časopisy ZČU / UWB Journals
  4. Musica Paedagogia Pilsnensis
  5. Číslo 1 (2021)