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A Subtle Novelty: Repetition, transmission and the valorisation of innovation within North Indian Classical Music
2006
Critical Studies in Improvisation
He did not play his tans the way his teacher taught him." "If Madhav Gudi sings in a mehfil and gets dad [applause], to whom does the dad belong? To Bhimsen! [Gudi's teacher]" 1 The two quotations above, which I will revisit later in the paper, encapsulate something of a conundrum in North Indian classical performance, a conundrum which may also apply in other musical styles. The first criticises a performer who has not executed a series of fast notes, tans, in such a way as to be identifiable
doi:10.21083/csieci.v1i3.55
fatcat:zogv2cpiq5dr7csxdhrams5jgu