Reviews

This short paper intends to show the established links between musicians and musical repertoires of India and Central Asia between the eleventh and nineteenth centuries. Though it properly evocates invitations of Central Asian musicians to North Indian courts, and interactions between classical Persian music and classical music from Northern India, the article still remains unclear about the origins and conditions of the supposed contributions of “Muslim impact on the culture of ancient India” (165). The author exposes quite clearly the musical aspects where some conjunctions can be underlined, but does not explain their modalities. D. Karomat awkwardly quotes classical authors who treated common features of Persian and Indian music. She also supposes influences, though less important, in another direction: from Indian music to Central Asian music. Comparing this influences’ process to the one operating in languages (167: “Urdu is an example of the interaction between Arabic, Persian, Turkish and Indian languages”), she finally defines the interactions concerning musical modes (maqam and rag), ending on a comparatives boards of different cosmic referents of musical theory. Some interesting research clues for history of cultural links between Persia, Central Asia and India, can be found in this paper, which unfortunately remains very general.

Ariane Zevaco, School of Advanced Studies in Social Sciences, Paris
CER: II-3.4.B-253