Remembering Rabindranath Tagore Volume - High Commission of ...

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31 Remembering Rabindranath Tagore 35' Jonathan Shear "Conciousness and Reality : The paradox of objective knowledge in Rabindranath Tagore : University and Tradition ed. Patrick Hogon & Lalitha Pandit (Madison : Fairlegh Dicknson University Press, 2003) 95 fuu ixjdoh Wmqgd olajd we;' 36' Ibid, 95' 36' Ibid, 96' 37' Ibid, 96 38' Ibid, 96" fuu idlÉPdfõ§ whskaiaghska .;a ñksia ú{dkfhka iajdëk jdia;úl;ajh ms
The Musical Journey of Rabindranath Tagore (1861-1941) Reba Som Rabindranath Tagore (1861-1941) was born at the interface of several cultures. In 1858 India came under the British crown. Western cultural ideas, which had already made an appearance, now received renewed vigour. However in India’s palimpsest history each cultural encounter, whether Muslim or British, left behind an indelible layer over an ancient Hindu civilisation. The new age or nabayuga in which Tagore was born, manifested itself in curious ways on the cultural environment of his family. Perhaps one of the most interesting manifestations of this cultural interface was in the musical scene. Rabindranath’s grandfather Dwarkanath, was a music aficionado trained in classical Indian music. He also had sufficient proficiency in Italian and French music to have impressed the noted Indologist Max Muller who commented on his “good voice” and presentation when they met in Paris in 1846. 1 Dwarkanath’s son, Debendranath (1817-1905) also had considerable interest in Hindustani classical music while being trained at home on the piano by English musicians. 2 His conversion to the Brahmo faith, a reformist challenge to the conservative Hindu religion, introduced the element of music into prayer congregations for which songs had to be specially written. He invited indigenous musicians trained in the traditional dhrupad style of music to take up residence in his ancestral home in Jorasanko. From his childhood Rabindranath was exposed to all these musical influences. Recalling his early years Tagore was to write how each day and hour, melody would pour unmitigated like waterfall on a music-mad family. Rabindranath flatly refused to undertake formal musical training just as he refused to continue with formal schooling beyond class five. Quietly standing outside the closed doors of the rooms of his elder brothers as they practised music, the young Rabindranth soaked in the strains of melody as they touched him in spurts. On his first visit to England in 1878 Rabindranath was exposed to opera music as well as Irish and Scottish songs which impressed him greatly. On his return to India he launched forth into music composition taking in elements from these western influences and blending them with indigenous Indian music traditions from rural Bengal sung by wandering minstrels called bauls and also combining elements from the various musical compositions from the far flung regions of India which he came to know through his travels. 32
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Page 4 and 5: Contents Message from His Excellenc
Page 6: Contributors Dr. Liyanage Amarakeer
Page 10: Message from His Excellency the Hig
Page 14: Introduction The year 2011 marks th
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Page 23 and 24: “The Inside Story”: Gender and
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Gitanjali - Lotus and the Empty Bas
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Gitanjali in Translation Kusum Disa
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The Nobel Prize in Literature 1913
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A Bibliography of Rabindranath Tago
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Bibliography - Tagore's Selected Wo
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