There was a time in the first half of the twentieth century when the term “music conferences” in the context of Hindustani music implied a ...
There was a time in the first half of the twentieth century when the term “music conferences” in the context of Hindustani music implied a combination of discussions and concerts held over a few days. These conferences were attempts at bringing about a closer dialogue between those working in the areas of pedagogy, performance, and musicology. They sought to bring together musicians and musicologists on a common platform to discuss issues pertaining to the theory and practice of music, at a time when a chasm existed between practitioners and theoreticians.
Mirroring in some ways the prevalent political mood and nationalist endeavour, these music conferences aimed at proving to the West and to the Indian intelligentsia that Hindustani music had a scientific basis, that it was on par with Western music, that it was a reflection of a highly sophisticated culture and that it needed to enjoy a prestigious position.
The conferences organised separately by educationists Vishnu Narayan Bhatkhande and Vishnu Digambar Paluskar are noteworthy in this regard.
From conferences to festivals
With the passage of time, music conferences shed their earlier association with theoretical discussions and focused only on performance. The term “music festival” or “sangeet sammelan” became more prevalent. Concerts held over many days featured...
