By Bob van der Linden
Tune has been missed via imperial historians, yet this booklet indicates that tune is an important element of identification formation and cross-cultural alternate. It explores the ways that rational, ethical, and aesthetic explanations underlying the institutionalization of "classical" song converged and diverged in Britain and India from 1880-1940.
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Additional resources for Music and Empire in Britain and India: Identity, Internationalism, and Cross-Cultural Communication
35 Like his basically Romantic spirit, it was indispensable to his aesthetic throughout his life, and undoubtedly it was symbiotic with his famed ability to improvise at the piano. To explain the relationship between music and color, he explicitly used the Theosophical idiom. 2 Cyril Scott working on a score, Eastbourne, 1952 (Courtesy of the Cyril Scott Estate). fellow musical modernist, and eventually Anglophile, Alexander Scriabin (1872–1915), rather than with Schoenberg or Stravinsky, who early in his life was interested in Theosophy and was admired by Scott.
Like many of his contemporaries, he was dissatisfied with the organized Christian church. 14 In congruence with the Theosophical theory that the “spiritual” development of individuals is or can be guided by a secret set of Masters living in Tibet, he presented the idea that Jesus was a Yogi living in the Himalayas. ”16 Obviously, Scott was much interested and influenced by Theosophical ideas about music such as the “spiritual” importance of vibrations and overtones as well as the belief that links between color, musical tones, and other natural phenomena could be (clairvoyantly/clairaudiently) deciphered and could provide insight into divine manifestations on earth.
A strange civility to kidnap, plunder, rob, enslave and massacre! 24 Scott had been thinking about “unity in diversity” for a long time. Already in 1932–1933, he composed and wrote the libretto for Mystic Ode (originally named Ode to Unity), a sort of predecessor to the Hymn of Unity. 25 From the perspective of internationalism, Scott’s concept of “unity in diversity” undeniably reflected both the fundamental Theosophical creed of a “universal brotherhood of man” as well as Rabindranath Tagore’s idealistic worldview, though surprisingly I did not find any reference so far that Scott was familiar with the poet’s work.
Music and Empire in Britain and India: Identity, Internationalism, and Cross-Cultural Communication by Bob van der Linden