Audio-resource-link: The Muria and Maria Gonds of Madhya Pradesh – audio examples and information >>
- Babiracki, C.M., ‘Tribal music in the study of great and little traditions of Indian music’. In: B. Nettl (ed.), Comparative musicology and anthropology of music. Chicago, 1990.
- Bhattachary S., 5., Ethno-musicology and India. Calcutta,1968.
- Deva, B.C., Musical instruments. Delhi, 1977.
- Deva, B.C., Kuckertz, J., ‘Songs of the Todas of the Nilgiris’. Sangeet Natak 50 (1978), p. 5-26.
- Elwin, Verrier. The Muria and their Ghotul. Bombay, 1947.
- Hivale, S., The Pardhans of the Upper Narbada Valley. Bombay, 1946.
- Jairazbhoy, N.A., A musical Journey through India. Los Angeles, 1988.
- Kaufmann, W., ‘The songs of the Hill Maria, Jhoria Muria and Bastar Muria Gond Tribes’. Ethnomusicology 4 (1960) nr. 2, p. 115-128.
- Kaufmann, W., ‘The musical instruments of the Hill Maria, Jhoria and Bastar Muria Gond tribes’. Ethnomusicology 5 (1961) nr. 1, p. 1-9.
- Knight, R. ‘The harp in India today’. Ethnomusicology 29 (1985) nr. 1, p. 9-28.
- Kothari, K.S., Indian folk musical instruments. Delhi, 1968.
- The new grove dictionary of musical instruments. Londen, 1984. Bijdragen van o.a. C. Babiracki, A. Dick en G. Dournon.
- Wolf, Richard K. The Black Cow’s Footprint: Time, Space and Music in the Lives of the Kotas of South India. Champaign: University of Illinois Press, 2006.
- Wrazen, L., ‘The early history of the Vina and Bin in South and Southeast Asia’. Asian Music 18 (1986) nr. 1, p. 35-55.
Source: Discography – information in Dutch (1992, updated by webmaster 2019) by Felix van Lamsweerde: “Muziek en muziekinstrumenten”, published in Adivasi: het andere India by Frits Cowan (ed.). Koninklijk Instituut voor de Tropen / Tropenmuseum, 1992, pp. 63-73
Learn more about Verrier Elwin: Author and educator known for his work with the tribes of India >>
Ethnomusicologists don’t spend their time comparing the musics of different societies, and they certainly don’t compare in order to determine who is better at this or that aspect of music-making. But they look at each musical culture from a viewpoint that relates it to the world of music, a world comprised of a multitude of musical cultures that are alike in some ways and different in others, and they believe that insight can be gained from comparison. A comparative perspective, yes; but when it comes to brass tacks, what kinds of comparison are significant, and whether there is a good method for comparing musics, these are questions the literature has generally avoided.
Source: Nettl, Bruno in The Study of Ethnomusicology: Thirty-One Issues and Concepts
(University of Illinois 1983, 2005), p. 20
Date Visited: 24 May 2022
[Bold typeface added above for emphasis]
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