Tejaswini Niranjana is Professor of Cultural Studies at Lingnan University and author of Mobilizing India: Women, Music, and Migration between India and Trinidad, also published by Duke University Press, and Siting Translation: History, Post-Structuralism, and the Colonial Context.

“Tejaswini Niranjana's beautifully written book gives us a glimpse into the ways in which Hindustani classical music enables distinct performances of modernity in a postcolonial context. She takes us on a fascinating journey across performative spaces while powerfully and subtly portraying the lives and struggles of musicians and showing how gender, caste, class, and religious identity refract their subjectivities. I greatly appreciate and am moved by the material she presents in this book.” - Purnima Mankekar, author of (Unsettling India: Affect, Temporality, Transnationality) “In her highly accessible, enjoyable, and immensely informative book, Tejaswini Niranjana-an astute and sympathetic cultural theorist-weaves musical genealogies and musician biographies into rich descriptions of the lives, emotions, and lived spaces of musicians and their audiences. Her centering of enjoyment, pleasure, and love in the study of Hindustani music is refreshing. Beautifully written, Musicophilia in Mumbai will set the standard for new waves of scholarship on Hindustani music and India's other classical traditions.” - Anna Morcom, author of (Illicit Worlds of Indian Dance: Cultures of Exclusion) "A fascinating journey across the city… Musicophilia in Mumbai will, undoubtedly, set the standard for more scholarship on Hindustani music as also India's other gharanas. Even if the study is deeply localized and empirically distinct, similar patterns can be traced elsewhere in South Asia. The book suggests that the relationship between cultural practice and the formation of the social subject can be expressed in many ways and many contexts-especially in the 'non-west.'" - Bhaskar Parichha (KITAAB) "For the discerning consumer, the current proliferation of texts on and about Hindustani Classical Music is a munificence worth exploring. Tejaswini Niranjana's Musicophilia in Mumbai ought to occupy a prominent position within this largesse, thanks to its combination of excellent scholarship, accessible language, and sagacious approach." - S.D. Chaudhuri (Telegraph India) "An important text for anthropologists, ethnomusicologists, and historians seeking to understand modernity in urban India. Moreover, Niranjana's careful attention to the ways that actual people construe urban sociality, produce subjectivity, and construct modernity should recommend it to a wider audience interested in global cities." - David Strohl (Ethnic and Racial Studies) "Musicophilia in Mumbai will likely be most interesting to scholars in the fields of South Asian studies, performance studies, and ethnomusicology. It will also be useful to those seeking to understand how the organization of urban space impacts social relations through musical performance.… Grounded in historical and ethnographic research, Niranjana's book is a multilayered resource connecting the past and present of this dynamic art form." - Rehanna Kheshgi (Journal of Asian Studies) “The remembered and physical worlds of musical life in Bombay city over the long 20th century are well portrayed. . . . I recommend [Musicophilia in Mumbai] highly for those who love Indian music.” - Andrew Alter (Asian Studies Review)

• Acknowledgments  ixIntroduction. On Not Being Able to Learn Music  11. "Yaa Nagari Mein Lakh Darwaza": Musicophilia and the Lingua Musica in Mumbai  192. Mehfil (Performance): The Spaces of Music  463. Deewaana (The Mad One): The Lover of Music  864. Taleem: Pedagogy and the Performing Subject  1285. Nearness as Distance, or Distance as Nearness  162Afterword  181Glossary  199Notes  205Selected Bibliography  227Index  235

Tejaswini Niranjana is Professor of Cultural Studies at Lingnan University and author of Mobilizing India: Women, Music, and Migration between India and Trinidad, also published by Duke University Press, and Siting Translation: History, Post-Structuralism, and the Colonial Context.

“Tejaswini Niranjana's beautifully written book gives us a glimpse into the ways in which Hindustani classical music enables distinct performances of modernity in a postcolonial context. She takes us on a fascinating journey across performative spaces while powerfully and subtly portraying the lives and struggles of musicians and showing how gender, caste, class, and religious identity refract their subjectivities. I greatly appreciate and am moved by the material she presents in this book.” - Purnima Mankekar, author of (Unsettling India: Affect, Temporality, Transnationality) “In her highly accessible, enjoyable, and immensely informative book, Tejaswini Niranjana-an astute and sympathetic cultural theorist-weaves musical genealogies and musician biographies into rich descriptions of the lives, emotions, and lived spaces of musicians and their audiences. Her centering of enjoyment, pleasure, and love in the study of Hindustani music is refreshing. Beautifully written, Musicophilia in Mumbai will set the standard for new waves of scholarship on Hindustani music and India's other classical traditions.” - Anna Morcom, author of (Illicit Worlds of Indian Dance: Cultures of Exclusion) "A fascinating journey across the city… Musicophilia in Mumbai will, undoubtedly, set the standard for more scholarship on Hindustani music as also India's other gharanas. Even if the study is deeply localized and empirically distinct, similar patterns can be traced elsewhere in South Asia. The book suggests that the relationship between cultural practice and the formation of the social subject can be expressed in many ways and many contexts-especially in the 'non-west.'" - Bhaskar Parichha (KITAAB) "For the discerning consumer, the current proliferation of texts on and about Hindustani Classical Music is a munificence worth exploring. Tejaswini Niranjana's Musicophilia in Mumbai ought to occupy a prominent position within this largesse, thanks to its combination of excellent scholarship, accessible language, and sagacious approach." - S.D. Chaudhuri (Telegraph India) "An important text for anthropologists, ethnomusicologists, and historians seeking to understand modernity in urban India. Moreover, Niranjana's careful attention to the ways that actual people construe urban sociality, produce subjectivity, and construct modernity should recommend it to a wider audience interested in global cities." - David Strohl (Ethnic and Racial Studies) "Musicophilia in Mumbai will likely be most interesting to scholars in the fields of South Asian studies, performance studies, and ethnomusicology. It will also be useful to those seeking to understand how the organization of urban space impacts social relations through musical performance.… Grounded in historical and ethnographic research, Niranjana's book is a multilayered resource connecting the past and present of this dynamic art form." - Rehanna Kheshgi (Journal of Asian Studies) “The remembered and physical worlds of musical life in Bombay city over the long 20th century are well portrayed. . . . I recommend [Musicophilia in Mumbai] highly for those who love Indian music.” - Andrew Alter (Asian Studies Review)

• Acknowledgments  ixIntroduction. On Not Being Able to Learn Music  11. "Yaa Nagari Mein Lakh Darwaza": Musicophilia and the Lingua Musica in Mumbai  192. Mehfil (Performance): The Spaces of Music  463. Deewaana (The Mad One): The Lover of Music  864. Taleem: Pedagogy and the Performing Subject  1285. Nearness as Distance, or Distance as Nearness  162Afterword  181Glossary  199Notes  205Selected Bibliography  227Index  235

Tejaswini Niranjana is Professor of Cultural Studies at Lingnan University and author of Mobilizing India: Women, Music, and Migration between India and Trinidad, also published by Duke University Press, and Siting Translation: History, Post-Structuralism, and the Colonial Context.

“Tejaswini Niranjana's beautifully written book gives us a glimpse into the ways in which Hindustani classical music enables distinct performances of modernity in a postcolonial context. She takes us on a fascinating journey across performative spaces while powerfully and subtly portraying the lives and struggles of musicians and showing how gender, caste, class, and religious identity refract their subjectivities. I greatly appreciate and am moved by the material she presents in this book.” - Purnima Mankekar, author of (Unsettling India: Affect, Temporality, Transnationality) “In her highly accessible, enjoyable, and immensely informative book, Tejaswini Niranjana-an astute and sympathetic cultural theorist-weaves musical genealogies and musician biographies into rich descriptions of the lives, emotions, and lived spaces of musicians and their audiences. Her centering of enjoyment, pleasure, and love in the study of Hindustani music is refreshing. Beautifully written, Musicophilia in Mumbai will set the standard for new waves of scholarship on Hindustani music and India's other classical traditions.” - Anna Morcom, author of (Illicit Worlds of Indian Dance: Cultures of Exclusion) "A fascinating journey across the city… Musicophilia in Mumbai will, undoubtedly, set the standard for more scholarship on Hindustani music as also India's other gharanas. Even if the study is deeply localized and empirically distinct, similar patterns can be traced elsewhere in South Asia. The book suggests that the relationship between cultural practice and the formation of the social subject can be expressed in many ways and many contexts-especially in the 'non-west.'" - Bhaskar Parichha (KITAAB) "For the discerning consumer, the current proliferation of texts on and about Hindustani Classical Music is a munificence worth exploring. Tejaswini Niranjana's Musicophilia in Mumbai ought to occupy a prominent position within this largesse, thanks to its combination of excellent scholarship, accessible language, and sagacious approach." - S.D. Chaudhuri (Telegraph India) "An important text for anthropologists, ethnomusicologists, and historians seeking to understand modernity in urban India. Moreover, Niranjana's careful attention to the ways that actual people construe urban sociality, produce subjectivity, and construct modernity should recommend it to a wider audience interested in global cities." - David Strohl (Ethnic and Racial Studies) "Musicophilia in Mumbai will likely be most interesting to scholars in the fields of South Asian studies, performance studies, and ethnomusicology. It will also be useful to those seeking to understand how the organization of urban space impacts social relations through musical performance.… Grounded in historical and ethnographic research, Niranjana's book is a multilayered resource connecting the past and present of this dynamic art form." - Rehanna Kheshgi (Journal of Asian Studies) “The remembered and physical worlds of musical life in Bombay city over the long 20th century are well portrayed. . . . I recommend [Musicophilia in Mumbai] highly for those who love Indian music.” - Andrew Alter (Asian Studies Review)

• Acknowledgments  ixIntroduction. On Not Being Able to Learn Music  11. "Yaa Nagari Mein Lakh Darwaza": Musicophilia and the Lingua Musica in Mumbai  192. Mehfil (Performance): The Spaces of Music  463. Deewaana (The Mad One): The Lover of Music  864. Taleem: Pedagogy and the Performing Subject  1285. Nearness as Distance, or Distance as Nearness  162Afterword  181Glossary  199Notes  205Selected Bibliography  227Index  235