To change their cultural standing, Bengalis required a new set of tools including a corpus of technical writings in their own language and a recognized position of authority. Reading the musicological texts together demonstrates how late Mughal 3 texts were taken in very new directions by Bengali musicologists over a relatively short period of time. An unidentified nineteenth-century European student of Bangla made use of the copy that is now in the British Library: They were not placed after the originals but interspersed among them, as though to integrate them more completely into the tradition. Besides this, they continued in the Sanskrit language. While Bengalis writing in English embraced these themes, they were not representative of the larger field of production. This complicated the epistemological transition of music under British rule: Providence had placed Hindu India into the hands of the English in order to protect and promote its knowledge systems. Some of these books contained popular song texts based on the repertories of theatres or religious communities, while others were technical compendia drawing on ancient history or modern acoustic theory. Hindustan, Awadh, and Delhi was not easily displaced. Advanced Search From theoretical treatises to songbooks, literature relating to Hindustani music proliferated in nineteenth-century Bengal. Despite the scale and variety of Bengali musical printing, the overwhelming majority of these works has received no critical attention. To anticipate my conclusion, a close reading of Bengali works on music elucidates three crucial principles. Therefore the skill of Sen, that noble lord of poets, remains imprinted in the hearts of those within this land as though engraved in stone. These printed conversations were carried out against the unique landscape of Calcutta, home to an elite society that had profited from the colonial economy and prided itself on its modernity, yet increasingly lamented and challenged colonial rule. Print provided platforms for numerous voices, many of which situated themselves in relation to long-standing musicological traditions inherited from the Mughal period. This suggests that, although he was indebted to a longer tradition since he was the first to write this kind of work in Bengali verse, he had the freedom to make executive decisions over how the material should be treated.













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