1,720,966 research outputs found
Musical Transitions to European Colonialism in the Eastern Indian Ocean: Final Summary Report
No full textKatherine Butler Schofield. 2016. "Musical Transitions to European Colonialism in the Eastern Indian Ocean: Final Summary Report." European Research Council. Project ID 263643; Principal Investigator Katherine Butler Schofield. .
The main finding of our project was that "precolonial knowledge systems did not consecutively give way to transitional, then colonial knowledge systems. Instead, reformism was but one strand among many thriving lineages of knowledge that competed for precedence in dynamic musical economies during the colonial era. These streams were facilitated or altered in their course by colonial presence and action, but the vast majority were not beholden to colonial epistemologies. In seeking to account for these economies while never losing sight of the coercive colonial context that shaped them, we have developed the concept of “paracolonial” knowledge systems (after Stephanie Newell), denoting lineages of knowledge that continued, developed, and were born and died alongside and beyond the colonial. The paracolonial enables us to account for the many otherwise unaccountable regional musical practices and knowledges that coexisted, waxed, and waned in differing relations to European power and culture during the years conventionally marked off as the “colonial period”. It also makes sense of the persistence of older forms and ideas long after independence in India and the Malay world." (Katherine Butler Schofield, 2016
The SHAMSA database 1.0 – Sources for the History and Analysis of Music/Dance in South Asia, c. 1700–1900.
No full text<p>The SHAMSA* bibliographical database and digital collection has been developed as part of the European Research Council project Musical Transitions to European Colonialism in the Eastern Indian Ocean (MUSTECIO, Grant no. 263643, PI Katherine Butler Schofield, 2011–2015/16). The attached xlsx document, licensed as a CC-BY-NC resource, provides the bibliographical metadata of Version 1.0 of the database. It describes well over 300 major written sources c. 1700-1900 for the history and analysis of North Indian (Hindustani) music and dance in Mughal and British-colonial South Asia. About one third – well over 100 – of these sources are also currently held in digital copies in the Department of Music at King’s College London. The SHAMSA digital collection already constitutes the largest single repository of primary written sources on Indian music and dance in the world, and is planned to be a major ongoing resource for future researchers on Indian music, dance, and cultural history.</p>
<p>The sources of SHAMSA 1.0 were located and consulted Jan 2011– Dec 2015 by members of the Awadh Case Study of the ERC Musical Transitions project, including James Kippen, David Lunn, Allyn Miner, Katherine Butler Schofield, Margaret E Walker, and Richard David Williams. The initial collection has clearly defined limits: it 1) focusses on the Gangetic plains region between Delhi, Lucknow, and Calcutta; 2) during the timeframe c. 1700-1900 i.e. explicitly before the era of recorded sound (but with some key 17C and 20C outliers, and some materials from e.g. Hyderabad, Kashmir). 3) The linguistic focus of the collection is on works largely in Persian, Brajbhasha/Hindavi, Hindi, Urdu and Bengali, but with some works in Sanskrit, English, and other Northern Indian vernacular languages. Sources include music and dance treatises, biographical works (tazkiras), song collections, ethnographic works, department archives, encyclopedias, cosmographies, theatre scripts, moral and ethical tracts, histories, and a tiny handful of the large number of extant ragamala painting sets (for a comprehensive treatment of ragamala sets see e.g. Ebeling 1973 and the <a href="http://rmc.library.cornell.edu/EAD/htmldocs/RMM08400.html">Ebeling digital image collection</a> at Cornell).</p>
<p>It is critically important to note that this is by no means a complete collection of everything written on music and dance in Northern India in the period of transition from the Mughal to the British empires. We have been completely overwhelmed by the volume and richness of the materials we have uncovered for the history of music and dance before the period of recorded sound. This bibilography should be considered a mere starting point; we are already aware of a large number of sources, especially visual, that we have not yet included. Version 1.0 consists only of (largely) textual sources that at least one of the team members personally consulted 2011–15, and considered to include substantial and noteworthy musical and/or dance-related contents (very occasionally key sources are also included that we know about, but have been unable to locate yet despite our best efforts.)</p>
<p>We know that there are many more written and visual sources for North Indian forms of music and dance beyond the geographical, temporal, and/or linguistic scope of the current version of this database – for example for Panjab, Rajasthan, Gujarat, Maharashtra, etc. – but even considering our core region and timeframe we keep uncovering more sources all the time, and aim to update the open access versions of the database periodically. We would be delighted to hear from anyone who has information about sources that are not yet in our database that we might be able to consult and include, or about any verifiable errors in the metadata that need correcting.</p>
<p>Well over one third of the works in the bibliographical file are already available to consult as digital copies in situ at King’s College London. The copyright statuses of these copies are exceedingly complex; but we aim to make as many of these available via Creative Commons licenses as and when we gain approval from the holders of the original documents to do so. Please do <a href="https://www.kcl.ac.uk/artshums/depts/music/people/acad/butlerschofield/index.aspx">get in touch</a> with Dr Katherine Schofield at King’s College London if you wish to consult the digital copies in the SHAMSA collection, or if you have suggestions of works whose metadata should be included in the bibliographical list. (Version 1.0 was completed 1 Jan 2016, and checked/exported 2 Oct 2018.)</p>
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<p>*Deriving from the Persian word "shams", meaning "sun", a shamsa is both a ray of solar light often indicating the bestowal of special knowledge or enlightenment, and the technical term for an illuminated orb-like frontispiece in Islamicate manuscripts that often encloses the patron's name, titles, and/or portrait — see for example the beautiful shamsa for the Mughal emperor Shah Jahan that adorns the SHAMSA Community page (Metropolitan Museum of Art). In later lithographed works on music in Urdu, the title of the manuscript would often be enclosed in a shamsa. But the name SHAMSA also pays homage to the first Persian treatise on North Indian music written by an imperial hereditary musician, the Shams al-Aswat by Ras Baras Khan (1698), in which he named shams as the presiding star of the musical note Ma, the fourth scale degree (MUSTECIO 0131/British Library, I O Islamic 1746, f. 19r).</p>Katherine Butler Schofield's 2018 British Academy Fellowship "Histories of the Ephemeral: Writing on Music in Late Mughal India, 1748–1858" builds substantially on the SHAMSA database and digital collection, and aims to bring many of its treasures to public attention, particularly those housed in the British Library's Asian and African Studies collection
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Canonical Hindustani music treatises of Aurangzeb 'Alamgir's reign
Full text linkPublished as a blog post on the British Library Asian and African Studies blog. Please cite the blog version.Part-funded by the British Academy as part of the project Histories of the Ephemeral: Writing on Music in Late Mughal India: https://www.kcl.ac.uk/artshums/depts/music/research/proj/histories-of-the-ephemeral.aspx
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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