From Musical Writings To Writing Music: Book-Writing Leading to Music School in Nineteenth-Century Calcutta

Print created the urge to innovate new modalities of musical knowledge production and dissemination in nineteenth-century Bengal. Publication of music books made the bifurcation between music theory and practice clearer, but only as a textual category. As the literature suggests, these were two categories for organizing musical knowledge, intimately entwined, where one produces the other and also doesn't exist without each other. The technology of ‘swaralipi’ (musical notation) used in the modern printed books materialized the project of disseminating music to the reader who could now ‘read’ the music from the book. For some book writers, music books were meant to be a replacement for the oral tutelage, published as ‘self-instructors’. But, on the contrary, the most prolific book-writers of the time used their books as the basis of oral tutelage in the music school. In the modern setting of the music school, the person of the ‘guru’ or ‘ustad’ was replaced by the formalized, systematic teaching of the ‘professors’ of music. Music books, as the medium of modern music pedagogy, thus changed not only the way students learned – making it possible to learn from the book with no instructor – but also the role of teachers, whose teaching was validated by the book. The music books came to function as the ‘modern shastras’ – to exercise regulatory authority over music practice, and how music is learned and taught. The ‘orality’ of music emerges as a liminal space in the gap between the writings on music and the writing of music. What emerges is an unlikely milieu where a new form of musical education is devised, the possibility of an education without a guru is conceived, and the schema of musical notation brings the entire process to life.