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Books on the topic 'Indian music industry'

Author: Grafiati

Published: 18 May 2024

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1

Ziervogel, Kim. Meet a music industry professional: Alan Greyeyes. [Southampton, Ont.]: Ningwakwe Learning Press, 2009.

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2

Amlan, Das Gupta, ed. Music and modernity: North Indian classical music in an age of mechanical reproduction. Kolkata: Thema, 2007.

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3

Montgomery, Erick. Duke Ellington: A life in music. Boston, Mass: Houghton Mifflin, 2004.

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4

Manuel, Peter. Cassette culture: Popular music and technology in north India. Chicago: University of Chicago Press, 1993.

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5

Recording culture: Powwow music and the Aboriginal recording industry on the Northern Plains. Durham, NC: Duke University Press, 2012.

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6

Cassette culture: Popular music and technology in north India. Chicago: University of Chicago Press, 1993.

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7

Is it all about hips?: Around the world with Bollywood dance. New Delhi: SAGE Publications, 2011.

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8

M, Ojha J. Cultural communication in India: Role and impact of phonograms. New Delhi: Concept Pub. Co., 1992.

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9

J, Rodriguez Luis. Music of the mill: A novel. New York: Rayo, 2005.

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10

Behind the curtain: Making music in Mumbai's film studios. New York: Oxford University Press, 2008.

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11

Bajanaama: A study of early Indian gramophone records. Lucknow: Kathachitra Prakashan, 2012.

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12

Naghma-Gar: Barr-e-Sagheer kay naghmon ki taareekh : 'awaami theater se maqbool filmon tak. Lahore, Pakistan: Sang-e-Meel Publications, 2010.

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13

Rajadhyaksha, Ashish. 3. Partition and the ‘all-India’ film. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780198723097.003.0003.

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India officially became ‘independent’ in 1947 and a Republic in 1950. Neither were easy transitions. The cinema would inherit all of India’s political contradictions. It would soon become apparent that India, once incapable of creating an ‘Empire’ film, was now equally unable to provide the newly free country with a properly nationalist cinema. ‘Partition and the “all-India” film’ describes India’s film industry in Bombay after the war; the arrival of the most famous stars; the success of film music; and the impact of independent auteurs Satyajit Ray, Guru Dutt, and Ritwik Ghatak, who defined local industries as they emerged from out of the shadow of Bombay.

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14

Music Commodities, Markets, and Values in India: Music As Merchandise. Taylor & Francis Group, 2016.

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15

Punathambekar, Aswin. From Bombay to Bollywood: The Making of a Global Media Industry (Postmillennial Pop). NYU Press, 2013.

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16

Shope, Bradley. Orchestras and musical intersections with regimental bands, blackface minstrel troupes, and jazz in India, 1830s–1940s. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0013.

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This chapter discusses blackface minstrel troupes, British regimental bands and jazz orchestras performing in India from the mid-nineteenth century to the mid-twentieth century. It details their challenges and strategies for success, and suggests that their capacity to facilitate cosmopolitan encounters in the wider world contributed to their popularity and value. It first introduces problems and practicalities in maintaining bands performing British military music in India in the mid- and late-nineteenth century. It then briefly introduces the character and scope of ballroom dance music and blackface minstrelsy in urban centres. To end, it examines the character of jazz orchestras between the 1920s and 1940s, detailing the role of the gramophone industry, entertainment venues such as hotel and cinema hall ballrooms, and the Allied military in Calcutta on their growth and profitability. In each example, it articulates thoughts on the role and usefulness of orchestras and notes issues confronting their musicians.

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17

Punathambekar, Aswin. From Bombay to Bollywood: The Making of a Global Media Industry. New York University Press, 2013.

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18

Shresthova, Sangita. Is It All about Hips?: Around the World with Bollywood Dance. SAGE Publications India Pvt, Ltd., 2011.

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19

Kabir, Nasreen Munni. Talking Films and Songs: Javed Akhtar in Conversation with Nasreen Munni Kabir. Oxford University Press India, 2017.

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20

From Bombay to Bollywood. New York University Press, 2013.

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21

Daboo, Jerri. Staging British South Asian Culture: Bollywood and Bhangra in British Theatre. Taylor & Francis Group, 2017.

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22

Daboo, Jerri. Staging British South Asian Culture: Bollywood and Bhangra in British Theatre. Taylor & Francis Group, 2017.

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23

Staging British South Asian Culture: Bollywood and Bhangra in British Theatre. Taylor & Francis Group, 2017.

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24

Daboo, Jerri. Staging British South Asian Culture: Bollywood and Bhangra in British Theatre. Taylor & Francis Group, 2017.

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25

Daboo, Jerri. Staging British South Asian Culture: Bollywood and Bhangra in British Theatre. Taylor & Francis Group, 2017.

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26

Daboo, Jerri. Staging British South Asian Culture: Bollywood and Bhangra in British Theatre. Taylor & Francis Group, 2017.

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27

Gildart, Keith, Anna Gough-Yates, Sian Lincoln, Bill Osgerby, Lucy Robinson, John Street, Pete Webb, and Matthew Worley, eds. Ripped, torn and cut. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526120595.001.0001.

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Ripped, torn and cut offers a collection of original essays exploring the motivations behind – and the politics within – the multitude of fanzines that emerged in the wake of British punk from 1976. Sniffin’ Glue (1976–77), Mark Perry’s iconic punk fanzine, was but the first of many, paving the way for hundreds of home-made magazines to be cut and pasted in bedrooms across the UK. From these, glimpses into provincial cultures, teenage style wars and formative political ideas may be gleaned. An alternative history, away from the often-condescending glare of London’s media and music industry, can be formulated, drawn from such titles as Ripped & Torn, Brass Lip, City Fun, Vague, Kill Your Pet Puppy, Toxic Grafity, Hungry Beat and Hard as Nails. Here, in a pre-internet world, we see the development of networks and the dissemination of punk’s cultural impact as it fractured into myriad sub-scenes: industrial, post-punk, anarcho, Oi!, indie, goth. Ripped, torn and cut brings together academic analysis with practitioner accounts to forge a collaborative history ‘from below’. The first book of its kind, this collection reveals the contested nature of punk’s cultural politics by turning the pages of a vibrant underground press.

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28

Hoffmann, Frank, and Tim Gracyk. Popular American Recording Pioneers: 1895-1925 (Haworth Popular Culture) (Haworth Popular Culture). Haworth Press, 2000.

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29

Popular American Recording Pioneers, 1895-1925. Routledge, 2012.

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30

Popular American Recording Pioneers 1895 - 1925. The Haworth Press, Inc., 2000.

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