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Three Perspectives on Music and the Idea of Tribe in India
6 references·13 citing·37 second hop
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this work references cited by second hop

References

  • 1999Signs of Imagination, Identity, and Experience: A Peircian Semiotic Theory for Music371 cited
  • 1969Folk Song Style and Culture.343 cited
  • 1983The New Grove Dictionary of Music and Musicians. Stanley Sadie145 cited
  • 1989The Western Impact on World Music. Change, Adaptation, and Survival73 cited
  • 1997Expel the Lover, Recover the Wife: Symbolic Analysis of a South Indian Exorcism64 cited
  • 1987Musical sound and Contextual Input: A Performance Model for Musical Analysis64 cited

Cited by

  • 2001Emotional Dimensions of Ritual Music among the Kotas, a South Indian Tribe40 cited
  • 2009Chapter 11 Modes of Theorizing in Iranian Khorasan21 cited
  • 2009Chapter 7 Music in Urban Space21 cited
  • 2019Layers and Elasticity in the Rhythm of Noh Songs19 cited
  • 2009Chapter 9 Sīna ba Sīna or “From Father to Son”14 cited
  • 2019An Approach to Musical Rhythm in Agbadza14 cited
  • 2008Le chant des serpents12 cited
  • 2009Theorizing the Local7 cited
  • 2012Music, song lyrics, philosophy and human values: Exploring poet Kannadasan's contributions to the Tamil community worldwide6 cited

Only edges whose both ends are imported exist here. Widen the year window, or show the whole map. Back to the work

  • 2012Return to Tears: Musical Mourning, Emotion, and Religious Reform in Two South Asian Minority Communities4 cited
  • 2009Chapter 3 Listening to the Violin in South Indian Classical Music3 cited
  • 2019Thought and Play in Musical Rhythm3 cited
  • 2019Modern Drum Solos Over Ostinatos2 cited