{\rtf \li720 \fi-720 \sl240 \slmult1 \sa0 Bor, Joep.

\uc0\u8220{}Gurus and
Teachers.\uc0\u8221{} {\i{}Collected Work: Seminar on \uc0\u8220{}Teaching of
Indian Music\uc0\u8221{}. Published by: Mumbai, India: ITC Sangeet Research
Academy, 1998. (AN: 1998-27797).}, n.d.\line{}Personal and historical discussion of
the contrast between the traditional Indian guru-\uc0\u347{}i\uc0\u7779{}ya
pedagogical system and the modern pedagogy of teacher and student.\line
\
Eckert, Jens. \uc0\u8220{}Music and Music Education in India: Provincialism,
Nationalism, and Globalization.\uc0\u8221{} {\i{}Collected Work: Europa Stellt Sich
Vor: Regionalstil, Provinzialismus Und Musikalische Sozialisation. Published by:
Magdeburg, Germany: Universit\uc0\u228{}t Magdeburg (Abteilung Publikation Und
\uc0\u214{}ffentlichkeitsarbeit), 2000. Pages: 119-140. (AN: 2000-12807).},
n.d.\line{}The guru-\uc0\u347{}i\uc0\u7779{}ya parampar\uc0\u257{} (master-disciple
relationship) stands at the heart of India\uc0\u8217{}s educational methodology.
From the middle of the 18th c., musical provincialism led to a greater stylistic
range. In the first half of the 20th c., nationalistic tendencies came to the fore.
Around the middle of the century, these superseded the exclusive courtly
provincialism, leading to a bourgeois music. In the second half of the 20th
century, Indian music found worldwide reception while confronting structural
problems in India\line
.\
Harvey, Jane. \uc0\u8220{}Observation of a Shishya.\uc0\u8221{} {\i{}Collected
Work: Seminar on \uc0\u8220{}Teaching of Indian Music\uc0\u8221{}. Published by:
Mumbai, India: ITC Sangeet Research Academy, 1998. (AN: 1998-27797).},
n.d.\line{}Remarks on the guru-\uc0\u347{}i\uc0\u7779{}ya pedagogical system from a
student\uc0\u8217{}s personal point of view, and on the basis of a questionnaire
study of students in the Indian music program at the Rotterdam Conservatorium.\line
\
Havaldar, Nagaraj. \uc0\u8220{}A Fresh Look at the Guru-Sishya
Tradition.\uc0\u8221{} {\i{}Sruti}, no. 386 (2016): 56\uc0\u8211{}59.\
Kichlu, Vijay Kumar. \uc0\u8220{}The Role of Guru.\uc0\u8221{} In {\i{}Collected
Work: Sociology of Oriental Music: A Reader. Published by: Jaipur, India:
Illustrated Book Publishers, 1992. (AN: 1992-14050).} Jaipur: Illustrated Book
Publishers, n.d.\line{}Discusses sociological aspects of the traditional oral
transmission of Indian classical music.\line
\
Narayana Menon, Vallathol K., Akilesh Mithal, and Kapila Vatsyayan. {\i{}Guru-
Shishya Parampara: The Master-Disciple Tradition in Classical Indian Dance and
Music}. London: Arts Council of Great Britain, 1982\line{}Survey, published on the
occasion of the 1982 Festival of India in Britain.\line
\
Parikh, Arvind, and Daniel M. Neuman. \uc0\u8220{}Role of a Guru.\uc0\u8221{}
{\i{}Collected Work: Seminar on \uc0\u8220{}Teaching of Indian Music\uc0\u8221{}.
Published by: Mumbai, India: ITC Sangeet Research Academy, 1998. (AN: 1998-
27797).}, n.d.\line{}Panel discussion among Kishori AMONKAR, Ajoy CHAKRABARTY, Zia
Faiduddin DAGAR, Asad Ali KHAN, Mashkoor Ali KHAN, M. Balamurali KRISHNA, Suresh
TALWALKAR, and Ken ZUCKERMAN.\line
\
Ram, Deepak, and Christine Elizabeth Lucia. \uc0\u8220{}The Guru-Sisya-Parampara in
a University Context.\uc0\u8221{} {\i{}Collected Work: Papers Presented at the
Tenth Symposium on Ethnomusicology. Published by: Grahamstown, South Africa: Rhodes
University (International Library of African Music), 1995. Pages: 104-109. (AN:
1995-01243).}, n.d.\line{}Demonstrates how basic concepts in Indian rhythm
(\uc0\u7789{}hek\uc0\u257{}, qa\uc0\u299{}d\uc0\u257{}, dor,
pal\uc0\u7789{}\uc0\u257{}, tih\uc0\u257{}\uc0\u299{}, and t\uc0\u257{}la) can be
taught on North Indian tabl\uc0\u257{} in a university. Areas of conflict and
confluence between the traditional guru-\uc0\u347{}i\uc0\u7779{}ya relationship in
India and the university curriculum, teaching, and examining methods are discussed.
Basic sounds on the tabl\uc0\u257{} and bajan are explained, and one
qa\uc0\u299{}d\uc0\u257{} is outlined.\line
\
Ranade, Ashok D. \uc0\u8220{}Guru-Shishya Parampara: In Wider
Perspective.\uc0\u8221{} {\i{}Collected Work: Seminar on \uc0\u8220{}Teaching of
Indian Music\uc0\u8221{}. Published by: Mumbai, India: ITC Sangeet Research
Academy, 1998. (AN: 1998-27797).}, n.d.\line{}Broad historical account of the
guru-\uc0\u347{}i\uc0\u7779{}ya system of Indian classical music pedagogy, with
attention to terminology and to the sociohistorical context.\line
\
\uc0\u8212{}\uc0\u8212{}\uc0\u8212{}. \uc0\u8220{}\uc0\u8216{}Guru-Shishya
Parampara,\uc0\u8217{} the Oral Tradition of India.\uc0\u8221{} In {\i{}Collected
Work: Classical Music of India. Published by: Kolkata, India: ITC Sangeet Research
Academy, 1985. (AN: 1985-08332).} Kolkata: ITC Sangeet Research Academy, n.d.\
\uc0\u8212{}\uc0\u8212{}\uc0\u8212{}. \uc0\u8220{}The Guru-Shishya Parampara: A
Broader View.\uc0\u8221{} {\i{}Sangeet Natak}, no. 129\uc0\u8211{}130 (January 1,
1998): 39\uc0\u8211{}54\line{}Presents reflections on the
guru-\uc0\u347{}i\uc0\u7779{}ya parampar\uc0\u257{} (traditional master-student
relationship) in the context of contemporary life.\line
\
Rao, Suvarnalata. \uc0\u8220{}Teaching of Indian Music in the Conservatory
System.\uc0\u8221{} {\i{}Collected Work: Seminar on \uc0\u8220{}Teaching of Indian
Music\uc0\u8221{}. Published by: Mumbai, India: ITC Sangeet Research Academy, 1998.
(AN: 1998-27797).}, n.d.\line{}Based on the author\uc0\u8217{}s experience at
conservatories in the Netherlands, the conservatory system differs less from the
guru-\uc0\u347{}i\uc0\u7779{}ya system than is popularly understood; for example,
there is ample opportunity for one-on-one training in the conservatory.
Considerable success has been attained in the teaching of Indian music, and certain
aspects of the conservatory system, including the encouragement to study with a
multiplicity of teachers and the adoption of uniform standards, could be adopted in
Indian institutions as well.\line
\
Schippers, Huib. \uc0\u8220{}The Guru Recontextualized? Perspectives on Learning
North Indian Classical Music in Shifting Environments for Professional
Training.\uc0\u8221{} {\i{}Asian Music: Journal of the Society for Asian Music} 38,
no. 1 (2007): 123\uc0\u8211{}38\line{}In the literature on Indian music and world
music education, the time-honored system of guru-\uc0\u347{}isya-
parampar\uc0\u257{} is often quoted as the perfect example of a close relationship
between master and pupil to perpetuate a predominantly oral musical tradition. The
system bears great resemblance to its Muslim counterpart, ustad-\uc0\u351{}agird;
much of the discussion about musical transmission in North Indian classical music
also applies to that setting. There is some justification for this: North Indian
classical music has been successfully passed down as an oral tradition through
guru-\uc0\u347{}isya-parampar\uc0\u257{} for many centuries, and has remained a
vibrant and living tradition to this day. However, with drastic changes in economic
and social conditions in India, the spread and increased uptake of Indian classical
music in the West for over half a century, institutionalization of music studies,
and emerging critical voices amongst contemporary Indian students, new conditions
and contexts have arisen that challenge a system essentially based on a court
patronage environment. These changes are explored from the perspective of a number
of explicit and implicit choices that are highlighted when music is taught outside
its culture of origin: approaches to cultural diversity; issues of tradition,
authenticity and context; and dimensions of teaching and learning, including oral,
holistic, and intangible aspects.\line
\
Slawek, Stephen M. \uc0\u8220{}The Classical Master-Disciple Tradition.\uc0\u8221{}
In {\i{}Collected Work: The Garland Encyclopedia of World Music. V: South
Asia\uc0\u8212{}The Indian Subcontinent. Published by: New York, NY: General Music
Publishing Co., 2000. Pages: 457-467. (AN: 2000-05518).} New York: General Music
Publishing Co., n.d.\line{}Discusses the guru-\uc0\u347{}i\uc0\u7779{}ya
parampar\uc0\u257{}, the traditional transmission process, with particular
reference to the Hindustani tradition.\line
\
Tournier, Henri. \uc0\u8220{}Observations by a Shishya.\uc0\u8221{} {\i{}Collected
Work: Seminar on \uc0\u8220{}Teaching of Indian Music\uc0\u8221{}. Published by:
Mumbai, India: ITC Sangeet Research Academy, 1998. (AN: 1998-27797).},
n.d.\line{}Remarks based on the author\uc0\u8217{}s personal experience of study
with the b\uc0\u257{}nsur\uc0\u299{} player Hariprasad Chaurasia.\line
\
Welch, Allison Clare. \uc0\u8220{}Meetings along the Edge: Svara and T\uc0\u257{}la
in American Minimal Music.\uc0\u8221{} {\i{}American Music} 17, no. 2 (1999):
179\uc0\u8211{}99\line{}La Monte Young and Terry Riley both studied with vocalist
Pran Nath (1918\uc0\u8211{}1996). Philip Glass studied sit\uc0\u257{}r with Ravi
Shankar (b.1920) and tabl\uc0\u257{} with Alla Rakha (b.1919). Elements of
Hindustani musical practice are found in Young\uc0\u8217{}s Trio for strings and
The well-tuned piano, Riley\uc0\u8217{}s A rainbow in the curved air and Mythic
birds waltz, and Glass\uc0\u8217{}s Satyagraha. Young and Riley were influenced by
the modal style of John Coltrane, while Glass was influenced by William Bergsma and
Vincent Persichetti. Another common influence for these composers was John
Cage.\line
\
}